Proem

What Do We Know About Each Other?

The centenary of the Latvian state has given impetus to several tell- ing processes that allow its residents to have a better and wider understanding of themselves. Looking back into the past and delving deep into the tiniest details of the early stages of the state isn’t just a cause for disputes among historians and a reason for rewriting history textbooks. It gives us a chance to recognize the influence of different events and personalities at times of political breaking points. With that in mind, we can evaluate the events of today with more care and responsibil- ity, as well as assess our own personal influence, involvement and participation in nation-building processes. As we choose and arrange the entries of the National Encyclo- paedia we place our knowledge about Latvia into a certain frame and structure, visualising the connections and relationships between things and impressing a certain order upon the world around us. In a modern encyclopaedia, this scheme is no longer frozen and immuta- ble. In the virtual environment we can continuously renew our knowledge, rearranging it when necessary and thus learning to pre- serve order in the storming waves of information that is increasingly becoming part of everyday life of modern humans. The influx of new music, cinema, literature and art supported in the enthusiasm for the centenary doesn’t only provide a creative value. These works talk about the way we see, hear and feel about ourselves – the way we can look at known or forgotten Latvian peo- ple anew, what words we use to talk about past or recent events, and what shape the possible or desirable Latvia might imaginatively take. The more diverse and manifold our art, the more opportunities to see and understand the differences between us, which is important in starting, or continuing, a discussion without which the future of Latvia can’t be imagined. Perhaps it would not be so bad to think about the next 100 years of Latvia this way – as an exciting conversation between friends. An everlasting conversation.

Ilmārs Šlāpins

3 Calendar

Latvia’s Centenary Events Freedom Street Stories Through * A series of events. Daugavpils, Jelgava, Jēkabpils, Jūrmala, Liepāja, 18 November from November to December Rēzekne, Rīga, Valmiera, Ventspils The XIII Baltic Triennial: GIVE UP THE GHOST Through Exhibitions, lectures, presentations, creative workshops, a publication. 18 November kim? Contemporary Art Centre, Rīga Paradise ’89 From February Feature film. “Latvian Films for the Latvian Centenary” programme. Trauma and Revival. Cultural Ties Between Eastern Through In cinemas across Latvia and Western Europe 16 December An exhibition, discussions, talks. Bunkier Sztuki Gallery of To Be Continued From March Contemporary Art, Krakow, Poland Documentary film. “Latvian Films for the Latvian Centenary” programme. In cinemas across Latvia Over the Threshold Through The first exhibition dedicated to the Centenary of the Latgale 30 December Bille From April Congress. Cultural History Museum of Latgale, Rēzekne Feature film. “Latvian Films for the Latvian Centenary” programme. In cinemas across Latvia The Latvian Red Cross Celebrates 100 Through An exhibition. Pauls Stradiņš Museum of the History of Medicine, Rīga 21 January 2019 Mērija’s Journey From May Documentary film. “Latvian Films for the Latvian Centenary” The Latvian Centenary Celebrations Programme Abroad Through programme. In cinemas across Latvia UAE, USA, Australia, Austria, Azerbaijan, Belarus, Belgium, Brazil, the 3 December Czech Republic, Denmark, Egypt, France, Greece, Georgia, Estonia, Bridges of Time From September India, Italy, Ireland, Canada, Kazakhstan, Kyrgyzstan, Hungary, Russia, Documentary film. “Latvian Films for the Latvian Centenary” China, the United Kingdom, Lithuania, Luxembourg, the Netherlands, programme. In cinemas across Latvia Norway, Poland, Portugal, Serbia, Finland, Spain, Switzerland, Ukraine, Uzbekistan, Germany, Sweden Homo Novus From September Feature film. “Latvian Films for the Latvian Centenary” programme. To be Banned. Baltic Books 1918 – 1940 From 1 November In cinemas across Latvia Travelling exhibition. National Library of Latvia, Rīga

Kurts Fridrihsons From October The Ring of Zemgale 2 November Documentary film. “Latvian Films for the Latvian Centenary” A cinema concert. The ring of Zemgale in the “Ring of Latvia” concert programme. In cinemas across Latvia series. Great Amber Concert Hall, Liepāja

The Mover From October The Latvian Provisional Government’s Six Months in From 2 November Feature film. “Latvian Films for the Latvian Centenary” programme. Liepāja In cinemas across Latvia Exhibition. Liepāja Museum, Liepāja

Giving Light I Burn Out October Glass Mountain. Daugava 3 November A series of public lectures. Pauls Stradiņš Museum of the History of – December A modern staging of Rainis’ dramatic poem Daugava. Medicine, Rīga National Library of Latvia, Rīga

4 5 Calendar Calendar

Terra Choralis [LV-CH] 3, 4 November End & Beginning From Concerts of Latvian and Swiss choral music. Chur, Zürich, Switzerland A Solo Exhibition by artist Ieva Jurjāne. Latvian National Museum of 10 November Art, Rīga Facial Expression. The Portrait in 20th Century Latvia 3 November to Exhibition. Latvian National Museum of Art and Arsenāls Exhibition 24 February 2019 Lāčplēsis Day 11 November Hall, Rīga A day for commemorating those who fell in the Latvian War for Independence. Across Latvia Prayers for Latvia 4 November A concert of Liepāja’s choirs. Great Amber Concert Hall, Liepāja Latvian Soldiers’ Songs 11 November A concert of the Three Star Festival. Great Guild Hall, Riga War Sum Up 5, 6 November A choral opera. OzAsia Festival, Adelaide, Australia Meeting Place – Riga Second (Russian) 12-16 November Theatre (1902-1918) Lielais Kristaps 7-13 November Performances for school students. The Latvian School Bag initiative. A preview and award ceremony of the Lielais Kristaps National Film Latvian National Theatre, Rīga Festival. Splendid Palace Cinema, Rīga We Want to be Free And We Will Be 12-26 November The Royal Concertgebouw Orchestra, symphonic 8 November Documentary exhibition. Martynas Mažvydas National Library of orchestra of the Jāzeps Vītols Latvian Academy of Music Lithuania, Vilnius Concert. Part of the “Born in Latvia” concert series. Latvian National Opera, Rīga Gold. Silver. Bronze. Latvian Olympic Hall of Fame 14 November Exhibition. Latvian Sports Museum, Riga Lāčplēsis 8 November A rock opera. The Arena Rīga, Rīga First Latvian Cultural Festival in Brazil 14-18 November Across Brazil Lustrum From 8 November Documentary film. “Latvian Films for the Latvian Centenary” Moon and Sun 15 November to programme. In cinemas across Latvia A Solo Exhibition by glass artist and designer Artis Nīmanis. Finnish 31 December Glass Museum, Riihimäki, Finland Latvia in the Poetry of Imants Ziedonis and 9 November Ojārs Vācietis State Academic Choir Latvija a capella concert 15 November A concert of the Three Star Festival. National Library of Latvia, Rīga Palace of the Grand Dukes of Lithuania, Vilnius, Lithuania

Eslingen 9 November Founders of the Latvian State 15 November A musical. Latgale Embassy GORS, Rēzekne Book opening, Latvian Museum of National History, Rīga

The State and Municipal Heraldic Symbols of Latvia 9 November to 24 The Sun Rides Up into the Sky From Exhibition. National Library of Latvia, Rīga March 2019 Animation. “Latvian Films for the Latvian Centenary” programme. 15 November In cinemas across Latvia Impossible Run 10 November Ultramarathon. Valka Latvian artist participation in the Les Boreales 15-25 November Art Festival Caen, Normandy, France

6 7 Calendar

A Hundred Years of Rīga From Photo exhibition. By the Origo shopping centre, Rīga 16 November

Our Opera Turns 100 16 and 17 The Latvian National Opera’s Centenary Jubilee Concert. Part of the November “Born in Latvia” concert series. Latvian National Opera, Rīga

Staro Rīga 16-19 November Festival of light. Rīga

Award ceremony of the highest state decorations 17 November Rīga Castle, Rīga

Niagara Falls lit up in the colours of the Latvian flag 17 November Niagara Falls, the The United States of America

Freedom rogaining 17 November A rogaining competition. Abava Valley, Kandava

Concert for Mother Latvia 17 November A celebration concert by the Liepāja Symphony Orchestra. Great Amber Concert Hall, Liepāja

Concert by the Rīga Chamber Choir AVE SOL 17 November Konzerthaus Berlin, Berlin

The Servant Boy’s Summer. The Beginning From Theatre play. New Rīga Theatre, Rīga 17 November

Both Sides 17-19 November A Dance Spectacle. Arena Rīga, Rīga

Latvia - 100, Riga Latvian Society - 150 17 November Charity ball. Riga Latvian Society House, Rīga

8 Calendar. 18 November Calendar. 18 November

Morning Salute to Latvia Concert dedicated to the 100th anniversary of Latvia’s independence Freedom Square and Dzegužkalns, Rīga, Turaida, Gaiziņkalns, Mežotnes hillfort, the Valmiera Theatre, Valmiera vicinity of Lake Rāzna, Kolka, Alsunga, Latvia and the world Professional brass orchestra Daugava concert City Song Vienības square, Daugavpils Multimedia 3D projection. Jelgava St. Trinity church tower, Jelgava Singing the Latvian anthem together Honoring the Freedom Guard Vienības square, Cēsis Guard mounting and honouring soldiers in places commemorating those who fought for Latvia’s freedom. Cēsis, Jelgava, Liepāja, Rēzekne, Rīga, Valka, Latvia and abroad Musical spectacle featuring of the band Pērkons and the choirs of Jēkabpils, Latvian Signs for Jēkabpils Latvian Independence Day Vecpilsētas square, Jēkabpils Holiday programme, National History Museum of Latvia, Rīga A ball on Raiņa Street Celebratory parade of the National Armed Forces and an exhibition of By the Cultural House of Kauguri, Jūrmala Latvian and allied military vehicles and equipment 11 November embankment, Passenger Terminal, Rīga Celebratory concerts Rīga Congress Hall, Rīga Latvian Society House, Rīga Culture and Recreation Centre State celebration concerts across Latvia’s regions Imanta, Rīga Culture Centre Iļģuciems, Culture Palace Ziemeļbāzma, VEF Culture Palace, Daugavpils Latvian Culture Centre, Daugavpils, Krustpils Culture Centre, Jēkabpils, Ogre Rīga St. Peter’s Church, University of Latvia Great hall, Rīga Small Guild Culture and Folk Municipal Culture Centre, Ogre, Theatre House Jūras vārti, Ventspils Art Centre, Rīga Residents’ events, celebratory concerts, fireworks, etc. 18.11. Latvia and abroad A celebratory musical event and address by president Raimonds Vējonis. By the Freedom Monument, Rīga Latvia 100 sunrise gathering, the centenary scarf ritual and an exhibition of patterned mittens Both Sides of the Daugava Historic market square, Dobele A concert. 11 November embankment, Rīga The Road of Light The Life of the Sun A walk from the monument of first Latvian Foreign Minister Zigfrīds Anna Meierovics A musical spectacle of light. 11 November embankment, Rīga to the house where he lived as a student. The corner of Lielā and Jaunā Street – 14 Harmonijas Street, Tukums Chamber music concerts in the Old Town concert halls and churches St. Mary Magdalene Church, Zirgu Street Concert Hall, Anglican Church, Great Guild, People’s run Breathe Museum of the History of Riga and Navigation, Riga St. John’s Church, Riga City Council, People’s run. Rēzekne Reformed Church, Rīga Godi The Night Latvia was Born Celebratory event, Liepāja Latvian Society House, Liepāja An improvised spectacle. Latvian National Theatre, Rīga Freedom Street Stories. 100 years of Latvia in Ventspils Centenary Club Night Exhibition of the Ventspils Museum, Ventspils Castle, Ventspils Latvia and abroad

10 11 Calendar

First Concert of the Next Centenary LATEST. Läti Kama 19-25 November The days of Latvian contemporary theatre. Tallinn, Tartu, Estonia

The Sinfonietta Rīga Chamber Orchestra and 21-24 November Ksenija Sidorova on Tour in Sweden Baltic Music Festival. Malmö, Gothenburg, Örebro

The Latvian War for Independence 1918 - 1920 From 21 November A permanent interactive exhibition for children and young people. Cēsis History and Art Museum, Cēsis In the Name The First Year From 21 November An interactive, educational exhibition. Cēsis History and Art Museum, Cēsis of Love. 18+ Just on Time. Design Stories About Latvia 22 November to Exhibition. Museum of Decorative Arts and Design, Rīga 27 January 2019

Rothko in Jazz 21-24 November Concert programme as part of the London Jazz Festival. Latvian Eighteen beloved songs in brand new arrangements will be Radio Bigband, Mare Balticum, Kristine Prauliņa. Kings Place, performed by young Latvian musicians. Soul-baring love letters London, UK that will ignite a feeling of togetherness to spite the wind and Baltic Symphony Festival 24 November A Joint Concert by the Leading Symphony Orchestras in the Baltic cold weather characteristic of our nation’s birthday. States. Great Guild Hall, Rīga

A Barbarian in Paris 12 November to Group exhibition. Foundation d’Enterprise Ricard, Paris, France 22 December

The State Before Statehood. Latvia - Provinces of 6-8 December the Russian Empire in the 19th century Scientific conference. National Library of Latvia, Rīga

State Academic Choir Latvija a capella concert 14 December Moscow State Tchaikovsky Conservatory, Moscow

57th Australian Latvian Arts Festival 26-31 December Australia

* Programme is subject to change. Full programme available on lv100.lv and lv100.lv/18november 19.11.2018 Just outside the National Library of Latvia 18:30

12 Vēsture History

herein provided.” Even though the proclamation of the Latvian state on 18 Novem- ber 1918 is the most important date in Latvian history, at the time it was but a symbolic act the likes of which could be witnessed through- out the region, from Finland to Georgia. In late 1918 the Latvian Provisional Government represented just one out of three possible scenarios for Latvia’s future development, competing with Latvia ending up within the German sphere of influence or becoming part Sigulda infantry regiment of the Latvian th of Soviet Russia. In December 1918, when the Red Army entered Rīga, all that Rīga could muster as anti-Bolshevik forces were the remains of the 8th Army of the German Empire and the Baltic Landwehr (the “Baltic Territorial Army”), which per an agreement between the Lat- vian Provisional Government and the German party also included the first units set up by Latvians. At the turn of the year, these units fought shoulder to shoulder in the first battle for Latvian independ- ence. It took place near Inčukalns, and in the battle which saw the defending side lose a total of 43 German, Latvian and Russian soldiers, Officers and instructors of the 7

Army in autumn 1919. Photographer Unknown. Latvian War Museum archives. but the Bolsheviks’ impetus was slowed down for long enough to allow the German and Provisional Government institutions to evacu- ate from Rīga. After a month of stepping back, the retreat finally stopped by the Venta River. After leaving Rīga, most of the Latvian units became Winning is scattered and the remaining men were united under Colonel Oskars Kalpaks in the Independent Student Company and the Latvian Inde- pendent Battalion. The basis of these was made up by the student intelligentsia and hardened veterans of the former Tsarist army in Half the Battle World War One. The situation became stable, however. It was made text Roberts Rasums possible not only by the Estonian success in their independence bat- tles and the arrival of German units, but also by a complete lack of It’s possible to create a new country only by giving up an existing support for the Latvian Soviet Government, which first of all became state structure, and that’s why a process like this always involves expressed in massive desertions from the Red Army, sometimes with conflict. Even though international recognition is an important entire units leaving to join the Latvian Provisional Government. At factor for the existence of a state, for a country being brought to the same time, Latvian units under the Estonian Army were formed being its de iure recognition is usually only a political confirmation and united into the North Latvian Brigade under Jorģis Zemitāns. On of reality, i.e. it’s recognising a power that is truly capable of ruling. 3 March 1919 the Latvian-German joint offensive started, while Esto- In today’s story about Latvia’s foundation a less popular fact is that nian-Latvian forces marched on from the north. After Rīga fell on 22 the first country to recognise the Republic of Latviade iure was not May, the Red Army units made a chaotic retreat towards Latgale. This the UK, or France, or the US. It was the Soviet Union. On 11 August stage of the Independence War concluded with the Battle of Cēsis, in 1920 the Treaty of Rīga was signed, and its second article said: “Rus- which the conflict of interest between the new Baltic countries and sia recognizes without objection the independence and sovereignty Germans concluded with defeat for the latter. Following the Battle of of the Latvian State and forever renounces all sovereign rights held Cēsis, representatives of the Entente, who wanted the German units by Russia in relation to the Latvian nation and land on the basis of to remain as an important anti-Bolshevik force in the region, saw to the previous State legal regime as well as any international agree- it that the Strazdumuiža truce was signed. The agreement said that ments, all of which lose their force and effect for all future time as German units would have to leave Latvia, but the Germans had no

14 15 History History

intention of doing so and started assembling a new force, namely the a country of their own; the Latvian Army was an army of Latvian citi- West Russian Volunteer Army nominally under the command of Pavel zens, Russian princes, Baltic German barons and Latvian farm owners, Bermondt-Avalov. who all fought side by side, and this continued into the interwar The Allies were not ready to get involved directly to achieve the period. evacuation of the Germans, so Latvians had to take action them- The Latvian Army succeeded in its task. Not only did it win the selves. On 10 July 1919 the Latvian Army was born by merging the struggle for independence, but also bestowed a legendary aura on the North Latvian Brigade and the Latvian Independent Brigade. Its first freedom battles, one that can be readily observed in the memoirs of commander was General Dāvids Sīmansons. The army was poorly the time. During the interwar period, the Latvian Army was an ele- provisioned and was in a difficult situation – in the east, it had to fight ment that united residents of different Latvian regions and ethnicities, the Red Army, while in the south an inevitable conflict was brew- while the institution of officers created not just military specialists ing with the German forces, which on 8 October launched an attack but the social elite. Nowadays this aura has vanished, perhaps due on Rīga under the command of Bermondt and von der Goltz. From to the 1940 occupation in which the lack of Allied support as well as this point on, the Latvian Army had to fight on two fronts against an the politicians’ overreliance on international treaties about neutrality enemy that surpassed it both in technology and absolute numbers. and the powers of the League of Nations did not allow Latvia to keep The only advantage for the Latvian Army was the considerable sup- its independence. The Latvian Army therefore fought as part of the port by Latvian locals, which was expressed in financial and material armies of the Soviet Union and Germany, winning recognition and a donations to the army, as well as massive voluntary enlistment and fearsome reputation, which was however overshadowed by the politi- partisan groups fighting behind enemy lines. While aided by cannon cal heritage that came with it. fire from the English fleet early on, the Latvian Army pushed Ber- In 1991 Latvia eschewed military conflict in regaining its inde- mondt’s forces out of Latvia fully on its own by December 1919. This pendence. However, this doesn’t mean that Latvian independence time the Entente’s calls for a truce were not heard and the operation was won without the help of the Latvian Army. The first National was quickly finished before the arrival of their representatives. The Guard battalions were set up in the same way as the first Latvian only thing that remained was the battle of Latgale, and Estonian and Army units in 1918. These were volunteers that bought their scant Polish help was enlisted for this. equipment, including guns, purchased with their own money and The Latvian War of Independence is as substantial a part of the joined in units despite the fact that a foreign military force was on story of Latvian independence as the country’s political, economic Latvian territory. Only gradually could the Latvian fighting structures and social history. Even if you avoid romanticised clichés about the become professionalised, and until then the Latvian Army served as fact that “no country has gained independence without spilling blood” the backbone of foreign and domestic security, starting from national and “better die standing than live on one’s knees” the War of Inde- defence and fighting gangsterism. As the millennium turned, the situ- pendence makes you realise several political mechanisms that are ation became normal and as a result of general international euphoria important today as well. First of all, defending independence does not Latvia joined NATO and the EU. consist solely on paying certain sums to the army. It can be ensured Nothing comes free – following the reinstatement of independ- only by the entire public, furnishing both material and human ence, fighting side by side with our allies, seven soldiers of the Latvian resources: the army was born from volunteers who arrived in their Army fell. The army has two obligations against the state: it has to win own clothing and whose guns were provided for by selling donated the struggle for security, and, secondly, it must preserve this security valuables, growing gradually to reach 75,000 men in February 1920. during times of peace. The timeless phrase, “Dulce et decorum est pro Secondly, only if there is a powerful and battle-willing core can there patria mori”, is where a country starts, and it must remain an extreme be hope for allied support. Were the Latvian Army unwilling to fight, means to express the people’s willingness to have a country; but the British and French cannons would have never fired upon Bermontian task if only fulfilled if the army has to spill as little blood as possible positions by the mouth of the River Daugava; Estonian forces would in the future to keep their country safe. Sadly, there’s only one way have never fought for Cēsis and Polish divisions wouldn’t have helped of ensuring it, namely being ready to stand for ourselves. In the 21st in freeing Latgale. Thirdly, there is no dividing line between the army country too, this readiness shows the will to a state among the public, and the public. The army is part of the public and the people’s readi- and with the motto Honour to Serve Latvia it unites Latvian citizens ness to defend their country is a litmus test for its willingness to have of all ethnicities, sexes and professions.

16 17 Knowledge

We Should Be Glad We Can Argue

Interview Ilmārs Šlāpins photo Ģirts Raģelis

18 Knowledge Knowledge

and sports, instead opting for entries with There are many areas in which it’s use- a timeless value, which would explain dif- less for a layperson to try to read academic ferent things that practically don’t age and texts; they’re impossible to understand. And which are significant in the long term. I there you have a chance to address a general think that an edition like this would find its audience, a chance missing until now. I’m a niche and it would be useful. We could work scientist myself, I’m a historian, and I have a on that. But a digital version of the Latvian feeling that the academic world lives its own Encyclopaedia is what’s essential, of course. life while the rest of the public live their own, and it would seem that both aren’t But the entries in classical encyclo- necessary to one another. We can bring the paedias, with which the history of two together. encyclopaedias started in the world, were scientific entries. Scientific diction, which became a clas- One of the most important events of favourite books. A cousin of mine came to Yes, of course, Diderot and d'Alembert sic staple of the encyclopaedic genre, the Latvian State Centenary is making Rīga from the countryside to study, and I invited the greatest minds of their time to was kept on a level as scientific as pos- the National Encyclopaedia. Its basis leafed through the pages of her books. Back come together and create them. sible, assuming that the readers will is constituted by a digital version of then, there was really no information about understand it. The other entries, but a special print volume is political geography, and the history I was But science is evolving so I have a feeling that approach is related to dif- also in the works for the occasion. The interested in was not available in Latvian. rapidly now, it’s useless the academic world ferent popular science book will be released 18 October 2018 Back then I wanted to learn about Africa, but to read about physics or lives its own life while encyclopaedias, such as but the digital version will be available I didn’t have the chance. I was interested in biology in an encyclopae- the rest of the public those for students and at enciklopedija.lv­­­­­­­ starting 18 December. the conquest of Africa, the rise of colonial- dia published a decade or live their own, and it children, as well as illus- The encyclopaedia is an autonomous ism, the 20th century. Some are interested so ago. trated encyclopaedias. The part of the National Library of Latvia, in beekeeping, others in fishing, but I was Of course, everything would seem that both third approach, which has and the Library and its employees are in interested in these things. Now I’m into US changes, but technolo- aren’t necessary to recently seen great devel- charge of practical editorial work. This history, the history of American Indians. gies allow us to correct and one another. We can opment, is the Wikipedia task is lead and overseen by historian But I read rather unsystematically. It sim- improve these things. We bring the two together. genre, which is carried out Valters Ščerbinskis, who assumed the ply entertains me. I like reading. It’s a great need this knowledge regard- in close cooperation, with responsibility four years ago. We met pleasure to me. I try to convert others to less of how it has changed. Most people the editors supplementing and correcting Valters to discuss what it means to create reading as well. want to learn something every day. Even one another. It’s something new entirely. a modern encyclopaedia which would the people who seemingly don’t read any- What’s your preferred approach? remain current and useful for the times Is the new encyclopaedia being made thing at all. When we started making this This early, traditional genre also has dif- to come. primarily as a digital source, or are you digital version, we adopted a sociological ferent branches. One of these is the one sticking to the classical principles of approach and tried to identify our target created by Denis Diderot and adopted by In my childhood, I had a hobby of writing structuring a book? audience. After surveying the three largest Britannica, and then modified by Brockhaus encyclopaedic entries into a notebook. It There will be a printed book too. In a way it groups, we discovered that our target audi- and the so-called German encyclopaedic tra- sounds funny, as in, what could I have been will be a niche product of sorts, but at some ence is people who seek knowledge every dition. The first has quite long texts, a trend creating back when I was a child? But I col- point we do need a volume of the encyclo- day. We have to offer them at least thesub - especially prominent in the Macropaedia lected all the available encyclopaedias and paedia on the shelf. It would be completely sistence minimum in their native language. and later adopted and further developed by rewrote the entries about every country, fine if, after a couple years, we would cre- Here, the interaction between scientists, Wikipedia. Meanwhile the German tradition redrew each coat of arms and flag, described ate a plan about an encyclopaedia spanning the academia or, let’s say, knowledgeable has short, pithy entries, which were used its political system, its presidents, whether eight to ten volumes. It would be a lim- people, is mutual. We gain knowledge from by Russian encyclopaedias and the Latvian it’s a monarchy… and its economic state. ited edition that doesn’t include transitory them, while they have a chance to communi- Soviet Encyclopaedia. These don’t allow for Foreign Economic Geography was one of my phenomena like pop culture personalities cate with society in a popular science mode. expressing specific opinions, which couldn’t

20 21 Knowledge

fit inside the volumes due to constraints and soul on one side of the river, but they of space. Meanwhile Britannica has never are still able to look at it, as it were, from shied away from such practices. For a long above or sideways. We can’t put poetry time, its entry on Anarchism was authored or epics inside the encyclopaedia, but by Kropotkin, who on any terms can’t be we won’t be able to cut it out completely considered to be an impartial researcher. either. But the entry was very good and its concep- tual approach was – well, why not? It was he Encyclopaedias often have another role. who came up with the field after all. I think Learning useless facts has been a well- that children’s encyclopaedias and simpli- known means of entertainment going fied editions were an attempt to adapt to back to the ancient times. people who have in no way immersed them- Yes, for me as well. As a child and a young selves. Publishers have always sought for person, I often thought what should I do, ways to earn money, and that’s the reason and my hand reached for the encyclopae- why these encyclopaedias were brought into dia as if on its own accord. I leafed through being. It can’t be excluded in our case in it, read it, looked at pictures and maybe the future, but the basic approach has to be forgot it afterwards, but the very process based on expertise. We order provided useful entertain- pieces from authors with dif- As a child and a ment. If we allow people to ferent styles and approaches. young person, I browse through our website One article in a sub-field is often thought what we can go a step further and 15,000 characters, which – should I do, and my create some things that have 10 keeping the scope of the entertainment value but also encyclopaedia in mind – is a hand reached for the offer knowledge that urges lot. It’s difficult to change the encyclopaedia as if on people to look deeper into style of an essay such as this. its own accord. it. We will approach it more Stimulating And we’ve come to the con- seriously. clusion that it’s not even necessary. Who would benefit from that? Will the National Encyclopaedia have disputable entries? Well, one benefit would be that these Almost all of the entries have been written entries could be comparable to one by scientists. Or acclaimed journalists. And Events another. So that it’s not the case where scientists always doubt what they write. one author expresses himself with poetic A true scientist always doubts. Scientists metaphors, while another makes do with include an element of doubt in their arti- abbreviations and formulas. cles, and this in itself is a subject of dispute. Of course, the editors achieve many a thing There will be disputes, without a doubt. with sweeping cuts. While other things are There were some already in the initial solved through discussion. It must be said stages of creation. It’s inevitable. Disputes that contemporary scientists have no expe- aren’t always a bad thing. We should be rience in writing encyclopaedias, and they glad we can argue. Thirty years ago, as my admit to this. And I am happy that many colleagues were making the Latvian Soviet authors can describe very difficult topics. Encyclopaedia, they didn’t have the chance We know that these people have their heart to argue. It’s part of being a free society.

22 23 Top 10 Top 10 1 2 3 4 Glass Mountain. Daugava Terra Choralis [LV-CH] Born in Latvia Meeting Place - Riga A modern staging of Rainis' dramatic Concert Series of concerts Second (Russian) Theatre poem Daugava. when where when where (1902-1918) when where 4 November Zürich, Switzerland 8, 16, 17 Latvian National Performance for school-age children 3 November The National Library November Opera, Rīga when where of Latvia and its 12-16 November Latvian surroundings National Theatre

Terra Choralis [LV-CH] or The Land that In November, at the height of the cele- Sings [LV-CH] is a Latvian and Swiss choral brations, the concert series Born in Latvia The staging of Rainis’ dramatic poem music project, made to honour the Latvian will continue, inviting to witness perfor- Daugava – Glass Mountain uses modern state centenary and the 170th anniversary mances by Latvia-born classical musicians means of expression. Daugava reveals how of the Swiss Confederation. The event, of world renown. On 8 November the Lat- Meeting Place - Riga Second (Russian) Theatre this poem was able to dispel doubt about organised by the Zürich Latvian Choir Balts, vian National Opera will host the Royal (1902-1918), a performance for school- the future of the newly established country will be a joint concert of both countries in Concertgebouw Orchestra under the Italian age children, will be played at the Latvian at a fateful moment for the Latvian state, Zürich, where a 300-singer choir has prac- conductor Daniele Gatti in a joint perfor- National Theatre from 12 to 16 November strengthening the conviction that by rallying ticed for eleven months to interpret 12 mance with the symphonic orchestra of the several times a day, allowing them to travel round the Latvian people could success- works of Latvian and 8 works of Swiss com- Jāzeps Vītols Latvian Academy of Music and one hundred years into the past and imagine fully defend their country. The audience are posers, not only introducing the Swiss with world-class pianist Yefim Bronfman. Mean- themselves as those strategically-minded, or offered a chance to identify themselves with the heritage of Latvian choral music and while on 16 and 17 November the National merely adventurously-minded or randomly the contemporaries of the poem – people modern works, but also bringing the two Opera will celebrate its own centenary in involved people who adopted the historic who believed in the idea of a Latvian coun- countries together through the meeting of the massive Centenary Jubilee Concert with proclamation of Latvian independence. At try and fought for it in the face of doubt, both cultures. The song lyrics of the con- performances by Latvian National Opera the same time the creators of the exhibi- pain and uncertainty. cert repertoire have been translated into soloists, as well as world-class Latvian opera tion – Director Valters Sīlis and Scriptwriter The staging was carried out in different German, while the sheet music has been stars and famous guest soloists from abroad Kārlis Krūmiņš – will invite young people locations at the National Library by five art- published in a special book designed to pro- who have performed at the Latvian National to consider that it’s them who will have to ists from different fields, enabling visitors mote the entry of Latvian choral music into Opera and acted as emissaries of Latvia to adopt decisions – perhaps courageous and to look at the historically significant work of the choral repertoires of Austria, Switzer- the world, including Marina Rebeka, Inga unpopular – about the future of Latvia. Rainis with the eyes of today and from dif- land, Germany and other countries. Kalna, Egils Siliņš, Zanda Švēde, Oļesja Pet- ferent viewpoints. rova, Ludmila Monastirska and others.

24 25 Top 10 Top 10

expressed by the Latvian people in works by poets and composers, supplemented 5 6 7 by video materials and light installations th made for the occasion. The Sun Rides Up into the Both Sides 18 November - the 100 The celebration will continue on the 11 Sky A Dance Spectacle Birthday of the Latvian November embankment, with the Saules Mūžs musical light performance set to a Animation. “Latvian Films for the State when where score by composer Ēriks Ešenvalds. It will Latvian Centenary” programme 17 (dress rehearsal), Arena Rīga, Rīga when where be followed on 19 November by the concert 18, 19 November when where 18 November Across Latvia and In the Name of Love. 18+ near the National From 15 In cinemas across the world Library of Latvia, where popular Latvian November Latvia musicians will perform new renditions and new versions of songs that at one time cre- ated a free-thinking Latvia. Objects of the annual Staro Rīga light festival will light the way from one culture event to another on the night of Latvia’s centenary. Meanwhile the celebrations will continue at the Latvian Centenary Ball at the Culture Palace Ziemeļbāzma and the Centenary Club Night during which enter- One of the chief events of the Latvian State tainment venues will play only Latvian Centenary celebration program will be the music. multimedia dance spectacle Both Sides, which On 18 November 1918 the Republic of Lat- This visual poem by the excelling artist will unite music, dance and modern technol- via was proclaimed at the Second Riga City Roze Stiebra tells the story of Latvia as the ogies. In an event of an unprecedented scale Theatre, now known as the Latvian National new-born daughter of the Sun and Moon. for Latvia in terms of the number of pro- Theatre. On 18 November 2018 the 100th Mummers arrive to greet the new-born, but fessional dancers on one stage – about 450 birthday of the state will be celebrated during the general festivities no one notices artists representing different dance genres, across Latvia with numerous events. that the daughter of the Sun goes miss- including professional ballet, professional Several other concerts will take place ing, until everyone finds themselves beside modern dance, folk dance and contemporary alongside the Both Sides dance spectacle an empty cradle. No matter how strong dance from hip-hop to dance-sports. Viewers at Arena Rīga, like chamber music perfor- the mother Sun and the father Moon are, will also be able to witness a spatial illu- mances in Rīga’s Old Town churches and alone, they are unable to find the child or sion which will be actuated by a 360-degree concert halls, including concerts by the return it home. It turns out that you need a stage covering 2000 square meters. The String Quartet of the Latvian National human for that. The mummer Nabešnieks, Director and Artistic Director of the perfor- Symphony Orchestra, Raimonds Ozols, as well as a girl with her little brother turn mance is Juris Jonelis. Ballet Choreographer the Anima Solla vocal group and Dita up to help and they all go out in the world Raimonds Martinovs, Contemporary and Krenberga. to find and take the Sun’s daughter home. Modern Dance Choreographer Liene Grava, The Freedom Monument will also tell They have only three days to find the daugh- as well as Folk Dance Choreographer Dace its story on the evening of 18 November ter as otherwise she will lose her power and Adviljone and other artists. becoming the platform of the 18.11 multi- become an ordinary girl. media performance. It will pay particular attention to the figure groups of the mon- ument. Its foundational ideas will be

26 27 Top 10 Top 10

to 2018. They reveal the persistence of the Meanwhile the Lithuanian orchestra has democrat fighters. While one group, under Latvian national identity, rooted in Latvian picked Mikalojus Konstantinas Čiurlionis' its leader Orators, spitefully continues to 8 nature, the ethnographical heritage, folklore classic symphonic poem The Sea. The Lat- fight. It plans a bold assault on a factory traditions and crafts, the northern laconism vian orchestra will perform a composition cashbox with the goal of procuring funds Just on Time. Design Stories and material aesthetics. Juxtaposed with the it comissioned from Kristaps Pētersons, to continue the fight. Soldier Pelēkais is About Latvia art and design values that have already been who has come up with a meditation on the made leader of this initiative. As they plan Exhibition recognised, are the most recent achieve- of chaos and order, played by all musicians the attack, Pelēkais starts an affair with the ments of Latvian designers, allowing visitors from every nook and cranny of the Great poet Violeta, whom he had met last year when where to compare Latvian design as it was then Guild Hall. during an attack on a manor. Coming from 22 November to Exhibition. Museum and now. The combined orchestra will play the different backgrounds and having different 27 January, 2019 of Decorative Arts and modern American composer Michael views, they nevertheless share an affinity for Design, Rīga Doherty's impressive opus Time Machine, romanticism and free-thinking ideas. Inspi- composed for three orchestras and three red by Violeta, Pelēkais looks at life with a conductors. Audiences can look forward to different set of eyes, while Violeta slowly 9 a powerful musical experience and an excit- enters the dangerous world of soldiers. For a ing show. long time, Rīga has remembered November Baltic Symphony Festival 1906 as a month of bloody terror and manic A Joint Concert by the Leading revelry. Symphony Orchestras in the Baltic Director and Screenwriter: Gatis Šmits. States Starring Inese Pudža, Mārtiņš Kalita, Kaspars Zvīgulis, Gatis Gāga, Toms Auniņš, when where 10 Kaspars Dumburs and others. 24 November Great Guild Hall, Rīga 1906 In cinemas across Latvia Already by the early 20th century, Latvi- ans were able to achieve commendable and when where globally-esteemed results in the area of From 18 January In cinemas across design, observable in crockery and texti- 2019 Latvia les, as well as in the idea – current for many artists – of creating a uniform ensemble of interior design. A couple of examples are found among the works by Ansis Cīrulis, Jūlijs Madernieks, the Balters workshop, as well as the best exemplars of book design the Zelta Ābele publishing house, Minox, The Rīga concert of the Baltic Symphony VEF. Spīdola, as well as the Rīga Porcelain Festival will see all three organising cou- Factory design in the 1960s, the Rīga Poster ntries appear on a single stage, with the School and other valuables that have been Estonian National Symphony Orchestra included under design and architecture in under Mihhail Gerts, the Lithuanian State the Latvian Cultural Canon. Symphony Orchestra under Gintaras Rinke- Director Gatis Šmits’ film is set in Novem- The exhibition Just on Time. Design vičius and the Latvian National Symphony ber 1906 in Rīga. Some time has passed Stories About Latvia collects the best phe- Orchestra under Andris Poga. following the tumultuous events of 1905. nomena of Latvia’s material culture in the The Estonian program includes the Punitive expeditions and the secret police decorative arts and design, made from 1918 work of Erkki-Sven Tüür, a modern genius. have all but stopped the operations of social

28 29 Art Art

again. Les Ames Sauvages. Symbolisme dans a savage (sauvage) country, these painters les pays Baltes. It is an exhibition I have been partake in a common European history. They waiting for so long I have managed to for- are familiar with their contemporaries, the get that it's about to take place. The girl is impressionists, Rodin, Whistler, Van Gogh, none other than Jānis Valters’ Young Peas- Gaugin, Böcklin, Klinger, Munch, Les Nabis, ant Girl. As I rush outside the station, images and Viennese art – these are all familiar to come flooding into my mind of our first them despite the aesthetic solutions they meetings in Latvia, on the big screens in art have chosen.” ¹ history lessons, in art books and the Latvian This trend of modernism in the art of National Museum of Art. A tenuous intimacy Baltic painters is one of the aspects that sur- is brought about between us by the reali- prise the visitors, giving a sense of expanding sation that no one of the passers-by at the of the borders of 19th- and 20th-century art, Saint-Lazare station has an inkling of what reaching as far as such terrae incognitae like the clouded summer sky and the field behind the Baltics. The impressionist ripples and her mean. From now on, each time I see this shadow play, the pointillist brushwork, fau- poster, I am reminded not only of the open- vist blocks of colour, and the musical lines ing and closing dates of the exhibition and of Art Nouveau are obvious and unmistaka- its location inside the Musée d'Orsay, but ble messengers of modernist classics, making also of the fact that these souls are my rel- the works of Janis Rozentāls, Voldemārs atives, and sometimes I miss Zeltiņš, Nikolai Triik, Konrad their presence here, a lot. The untamed souls. Mägi and other artists from In Latvian it sounds our region more familiar and text Justīne Janpaule photo Ansis Starks Classical Crossroads in more considerate, more understandable to West- European History less offensive than ern eyes thanks to their formal The name of the exhibition execution. puzzles me. In Latvian, it is the French sauvage. The different, or the Nepieradinātās dvēseles (the untamed, makes its way into the The Presence of untamed souls). It sounds more considerate, exhibited works with the themes they touch less offensive than the Frenchsauvage. The on. The works are grouped in three thematic English wild also seems more pleasant and categories: Myths and Legends, The Soul, Wild Souls conjures associations of the vastness of the Nature. Accordingly, the works collected in soul, its spite and untamedness. But how do I the first part of the exhibition are rich with explain to the French that sauvage is not lim- references to national symbols and legends, A Review of the Exhibition Wild Souls. girl on a yellow field of rye, her eyes the ited to savageness and wild natives? That its such as the heroic Kalevipoeg epic, present Symbolism in the Baltic States, on how 10 colour of rainclouds. She seems familiar. I emotional colouring is entirely different? It in the works of Triik, Kallis, and other Esto- April to 15 July 2018 at the Musée d'Orsay manage to read Les Ames Sauvages before the is difficult for me to find fitting synonyms. nian painters. Despite the fact that visitors in Paris. train moves past the girl, leaving her in the Maybe I am still unable to express myself, are given hints that the images from national dark. I am sure there’s something we have but maybe there is no such word in the mythology serve as symbols for preserving It’s an early mid-week morning. The metro in common. I am a wild soul as well, I think. French language. national identity, the meaning of these paint- draws to a halt at a stop to open the doors That’s what my French friends sometimes Writing for Le Monde, Philippe Dagen ings remains coded within Estonian culture to exchange another round of passengers. I call me in jest. They point out their Latin says that the name of the exhibition is “quite and it is difficult to read it without further am tired and sleepy. Seated at the window, I roots that evidently still serve to make them disparaging and has without a doubt been information about the visual cues of this epic. notice someone looking at me from the faint feel superior to other European nations. chosen to attract attention to the posters, The Soul category is meanwhile dom- darkness of the tunnel wall. It’s a peasant As I get out at my stop, I meet the girl but it makes no sense. By all means not from inated by portraits. Here we see the

30 31 Art Photo Story

aforementioned Jānis Valters’ Young Peas- assert that we belong to Europe and that, ant Gir, which has become the face of this in the future as well, we want to “dedicate exhibition. If, at this moment, visitors may all of our imagination and energy to the muse as to why this portrait has become European project,” as the President of Lat- the mirror of these Wild Souls, the descrip- via said. In May, the Festival Baltique was The Future Latvia tion underneath the painting sketches out held in parallel with the exhibition. It was the harsh history of Latvians as a nation an interdisciplinary program of events add- photo Ģirts Raģelis of peasants, dominated by foreign powers. ing to the exhibition. It strived to introduce The peasant girl is situated at the centre people to and assure them of our ambition of the exhibition hall and leads you to the to become a cultural powerhouse in many final, most poetic part of the exhibition different ways, from amateur choir per- with landscapes evoking the Baltic mood. formances to the Kremerata concert, also These don’t indulge on the luminescent featuring literature, film, and electronic turquoise marina front, but nevertheless music. have the power to move the viewer with the In conclusion to this piece, in which I monumentality, force and wanted to look at the way turbulence of nature. painters from Latvia and Wild Souls has become its neighbouring countries Reminding Others of Your- a gesture with which look within the European self Unceasingly we want to assert that art scene, I would like to On the opening day I was we belong to Europe. mention two globally signif- going in the direction of icant exhibitions that took Orsay through the Tuileries Garden. Cross- place in Paris. The first of these is the col- ing the Pont des Arts, I saw the French First lection of New York’s Museum of Modern Lady Brigitte Macron leaving the museum Art that was on display until late February accompanied by a couple of bodyguards. at the Fondation Louis Vuitton. Among the The fact that Wild Souls took place dur- pieces on display there were some by art- ing the Latvian centenary and that all four ists born in Latvia (and whose ties to Latvia presidents attended the opening obviously we like to stress) – Mark Rothko and Gus- testifies to the political nature of this exhi- tavs Klucis – as well as fragments from the bition. That it took place in France stresses, films of Sergei Eisenstein. Likewise, Klucis once again, the diplomatic relations was on display at an exhibition dedicated to between the two countries and the role the Russian avant-garde, which took place they played as we regained independence. at the Pompidou Centre at the same time The works exhibited at the Musée d'Orsay as Wild Souls. In both exhibitions, queues were supplemented by rich factual material formed to see these artists – who are pil- that introduced visitors to the most impor- lars of modern art and the avant-garde. tant dates of 19th- and 20th-century history Biographical facts took less precedence, in the Baltics, also mapping out our geopo- specifying the following: Mark Rothko, US, litical standing throughout this time. born in Russia (in current Latvian territory); Taking this into account, Wild Souls has Gustavs Klucis – Latvia; Sergei Eisenstein – become a gesture with which we want to Russia, the USSR.

1 Philippe Dagan, Surprises Baltiques au musée d’Orsay, Le Monde, 28 Avril 2018, p 17.

32 33 Photo Story Photo Story

34 35 Nākotne Future

Dreams of the Future: the 200th Anniversary of Latvia

text Andris Šuvajevs illustration Pauls Rietums

I remember quite vividly the 800th anniversary of the city of Riga when I was strolling around the city with my family, enjoying the festivities and the joyous atmosphere all around me. It already occurred to me then that in 2018 Latvia will celebrate its 100th anniversary and this prospect seemed exciting to me. I felt a certain kind of childish hon- our in the possibility of being a part of it. Importantly, there was never a doubt in me that this moment will come. The notion of Latvia being an independent state that will exist forever into eternity seemed quite simply an objective reality to me. Needless to say, this is no longer so. Latvia may very well never reach its 200th anniversary, and not due to some aggressive military campaign from the East, but due to reasons entirely of its own making. I realise that statements like these pro- voke popular sentiments and often cause a counter-reaction: why do you have to be so pessimistic? Why don’t you do something about it then rather than just complain? In many ways I feel that the source of this counter-reaction lies in the manner in which the people of Latvia are taught patriotism: we are supposed to grant our unquestionable devotion to this country regardless of the form it takes. No matter if half the population leaves and another fifth is at the risk of poverty: the idea of independence towers above it and all else is secondary. It resembles a cult where the followers (citizens) have to undergo haz- ing, humiliation and other challenges to be considered full members of it. The possibility of not wanting to be a part of it is postulated as absurd or ridiculous. While I do believe that Latvia may very well disappear from the world map in the next 100 years, and this is something we should all be conscious of, I do not think it is inevitable. This, however, requires that we finally start talking about it. Currently, we only talk about the past. Films, cultural events, celebration of natural diversity of the country – all certainly admirable ways of recognising the significant milestone. Nevertheless, the general temporality remains focused on accomplishments and obstacles that led us to this point in time. It is not even clear what it would mean to discuss the future: do we talk about where we want to be? Or where we could realistically get to? Is the future the same for us all or do we imagine parallel trajectories

36 Future Future

occasionally criss-crossing each other? To break the deadlock, I to multi-national corporations, but which simultaneously devastated would propose three subjects as particularly important for think- the livelihoods of millions, these various anarchist groups presented a ing about the well-being of our future nation. For purposes of clarity, deathly challenge to the powers that be. What made them so effective? I will split them into political, economic and ideological dimensions Their manner of organisation. Rather than replicating hierarchical though it should be noted that all of them inevitably overlap. First, I structures, on which all Member States are built, they engaged in hori- will outline some of the ways in which we could meaningfully pro- zontal, consensual decision-making and made temporary alliances mote a democratic society. Secondly, the fiscal and monetary policy with other groups to meet their immediate goals. Their philoso- of the European Union is an enormously important topic virtually no phy was centred on the notion of direct action: on acting as if one is one discusses but I will offer some remarks toward a better under- already free, insisting that one does not need the mediation of the standing of it. Finally, the most significant pre-condition for there State to accomplish goals. In Latvia these forms of action are not at being a country called Latvia in 2118 is an ideological shift toward the all foreign. Recently, rather than awaiting the municipality of Riga to left. This demands that we reject the stereotypical knee-jerk reaction plant trees, a group of activists decided to do it themselves. The Criti- against ideas that promote solidarity and socialist politics and begin cal Mass cycling event which takes place every year on the 1st of May is to seriously engage with questions that haunt the present, like poverty a similar form of direct action: instead of petitioning to the authorities and inequality. to make roads safe for cyclists, they simply congregate together and It is customary to assume that upon re-gaining independence in flood the streets to make their point. It seems to me that these politi- the early 1990s, the people in Latvia somehow magically gained democ- cal moves need to become ever more frequent if we are to inaugurate racy. Now Latvians would be able to manage their own affairs as they a truly democratic society. Initiatives like the participatory budget, pleased by directly electing their leaders. Democracy was assumed neighbourhood assemblies, powerful municipalities, the power to to equate with elections and possibly a sovereign currency. Pretty recall specific parliamentary representatives, regular referenda on top- soon though it became clear that the reality was much more differ- ics of collective importance – this is the language of the future and ent: the “experts” from the World Bank and the IMF did not hesitate one that we should begin to use immediately. to introduce shock therapy whereby inflation and unemployment It is likely that by changing the form of political action, we will sky-rocketed. The first independence years were marked by material change the economic and material dimensions of our lives. However, and financial upheavals. No matter who you elected, the basic political it is necessary to outline what are the actual issues we face and what direction remained the same: toward unfettered capitalism. The result direction the overall change should take. As most will readily admit, of this “democracy” has been the emergence of a class of political the three main economic problems haunting the society in Latvia are parasites and it has become almost impossible to imagine a scenario poverty, inequality and the demographic breakdown. These are the where they would all disappear. These kleptocrats, popularly referred direct consequences of the austerity regime orchestrated by prime to as oligarchs, appear to pull the strings of their puppets whenever minister Valdis Dombrovskis and his associates. The introduction of they wish to and the illusion of democracy is becoming all the more the Euro in 2014 appeared like a step forward but currently in fact pre- forceful. To me it’s clear that as long as we limit our imagination of vents actual economic development. Why is this? When the authors the political to the singular act of voting or working in the civil soci- of the Maastricht Treaty, signed in 1992, stipulated that no country ety, the people in the corridors of power will not hesitate to take what will be permitted to have a large budget deficit (it may not exceed rightfully belongs to everyone. If the only political decision most of us 3%) and will have a debt limit (60% of GDP) this was a deliberate make is about who will make decisions on behalf of us then surely that measure intended to place the private sector at the centre of driv- cannot be meaningfully called democracy. It is necessary to wrestle ing economic growth. In other words, the Maastricht Treaty prevents this decision-making power back. individual nation-states to decide where financial resources should be How to do this? Thankfully, the global experience offers us a flow or at least it severely limits their capacity to do so. For example, lot of material to draw from. The latest anarchist movement that in Latvia the number of people at risk of poverty exceeds 20% of the started off with the Zapatista uprising in 1994 was indeed quite suc- population. At the same time, most politicians and “experts” will say cessful in meeting their goals. Uniting under a common vision of that Latvia’s economy is growing. But if it is growing at such a high dismantling global bureaucracies like the IMF and the World Trade speed, as we are told it does, why doesn’t the rate of poverty decrease Organisation which spoke and made rules in the language delightful with the same speed? The simple answer is that this “growth” mainly

38 39 Future Future

takes place in sectors that are already quite well-off (finance, real mean that German taxpayers are directly financing Latvia’s retirees estate, insurance). If States were permitted to directly influence where and this is where European solidarity meets its limits. money goes, it would be quite possible to make sure it flows toward Speaking of solidarity, the final issue I’d like to point out for your the more vulnerable members of the population. However, the Euro- consideration is the ideological shift toward the left which I see as zone membership prevents it. If the government of Latvia wants to fundamental for any future well-being. It is understandable that after spend more, it needs to go to the private markets where banks and the fall of the Soviet Union, any leftist politics would be viewed with investors decide, basing this decision purely on the grounds of profit, suspicion and hostility. The attempt to escape the historical asso- at what rate these money funds will be released. Obviously, this is ciation with “communism” and socialism seemingly offered only never cheap. one alternative: capitalism, free markets, private sector-led growth, Budget deficits may sound scary and certainly there has been every individualism, etc. Yet we have come to a point in time when these effort in the last ten years to make sure they do. But they are not. In ideas clearly do not ensure a fair distribution of resources, overall fact, at times when a large chunk of the population is drowning in pov- social happiness, and a decent life for all. Instead, the ties of solidar- erty and unable to commence any meaningful economic activity, they ity between people, the feeling of responsibility toward our fellow are the only answer. To better appreciate this, it is necessary to look citizens, and an acknowledgement of mutual suffering have been at the economy holistically. Where do people in the private sector, persistently attacked. I am not at all advocating a return to the dic- households and firms, get their money from? Well, they earn it, could tatorship of the proletariat but I am speaking favourably about the be an answer. But what is the original source of money? In our day and kind of politics that does not see the solution to everything in work- age – banks - and at least in the Eurozone, ultimately, the European ing harder and instead proposing a collective, social explanation of Central Bank. Banks just whisk money into existence as they please. the roots of our economic ills. By the time this essay will be published, The notion that there is not enough money to go around is fundamen- we will have a new Parliament, but regardless of who gets elected, the tally mistaken. The policy of quantitative easing where the ECB has basic ideological trajectory will remain unchanged: it will be a capital- been pumping trillions into the monetary system is a clear example of ist path. Poverty and inequality are going to be issues whose solution it. Thus, we can observe that the source of all money is a public insti- lies in the private sector. The demographic implosion will be solved tution. This is in fact a basic relation between the public and private through entrepreneurship. It seems to me that as long as we limit our- sector: if the private sector is to run surpluses (have savings for retire- selves to the capitalist imagination and perceive the world through ment, unexpected costs, etc.) it can only do so if the public sector (the the lens that the young generation has normalised and grown up State) runs deficits. This actually makes a great deal of sense if you with, there is hardly any hope. Here, I am hesitant to provide specific think about it. As it turns out, the only way for private individuals to ideological tenets on which the future Latvian society should rest, have extra money in the pocket is if someone else spends it, and this inviting the reader to go back to the first dimension I described. It is has to be the State. Otherwise, where will these private individuals get only through collective, long-term deliberation that such ideology will their money from? emerge, and, if it does, it will surely be the very opposite of what we Thus, important as politics is, it seems to me that the economic have now. issues are even more significant as they require action on a much To conclude then, there is every reason to suppose that the cur- bigger scale. People who call themselves the representatives of the rent trends of economic catastrophe will continue: people will Latvian population have a fight to wage against the European institu- continue to emigrate, poverty and inequality will be felt ever more tions, either securing concessions from the arbitrary constraints of the deeply, and the political class will continue to offer up for sale all of Maastricht Treaty or by forming alliances with other nations and fos- the natural wealth Latvia has. If this happens, then I am certain this tering a change on the level of the entire union whereby the functions is the last great anniversary we will be a part of. However, it does not of the ECB will be changed and it will be enabled to lend directly to have to be that way. Call it what you will – a revolution, a transforma- governments or by designing some kind of fiscal union. The idea of a tion, a development – but the only way we can recuperate our future is fiscal union is already in the air and would essentially mean that there if we radically re-think the political and economic practices of the cur- is a common European budget and money would flow toward the rent period. Then it might very well be that not only our children get countries and sectors that are in need of it most. Of course, the rea- to celebrate the 200th anniversary of Latvia, but all the world will too, son why it seems quite improbable at this point is because this would seeing this place as an example of what a truly happy life might be.

40 41 A Centenary Film

Comedy is a Quest for Truth

Interview Ilmārs Šlāpins phOTO Ģirts Raģelis

42 A Centenary Film A Centenary Film

As a child, Anna Viduleja starred in the But the actors do have a conception and significant to me to use comedy as a has been of great personal and professional short filmMy Friend Little Socrates. She of the ways of playing something in a genre for learning a truth of sorts. help during the making of the film, went has studied at the European Film Col- funnier or less funny manner? Of the to a picture and said, “It’s so beautiful!” or lege and the National Film and Television moments that ask for a pause for the Does the film you started directing differ something to that effect. And Džemma School in the UK. Viduleja founded the audience to laugh. In principle, a director from the film you’ve finished? Skulme replied: “Yes, when I finally got it Film Angels Studio, was one of the direc- could issue an order, asking it to be fun- You start with the text – Anšlavs Eglītis’ text. right, my eyes were shining with happi- tors of the feature filmVogelfrei and has nier, asking for a bit more. And then you involve your colleagues. I had ness.” It was something that I really wanted recently finished work onHomo Novus, a I sometimes reminded the actors that we’re really wonderful associates – the costume to show in our film - the moment when the film based on Anšlavs Eglītis’ eponymous shooting a comedy. Imants Strads was designer Liene Rolšteina, the cameraman artist experiences something greater than novel. The film is set in 1938 and sees the especially resourceful in this regard. I told Jānis Eglītis, and the artist Kirils Suvalovs, – himself. Something that makes his eyes poor artist Juris Upenājs arrive in Rīga, him, “Imants, think about how you could with whom we visualised the film. Liene did shine. When he experiences something out- meeting different personalities of the art help. We’re making a comedy here.” And design sketches and Kirils did art sketches, side the usual everyday consciousness. See, world under the patronage of curator and he said, “Oh, in that case I can offer you a or material evidence. A visualisation was the quick-paced, dynamic situation we were critic Kurcums, and experiencing success, high-pitched laugh – hahahah.” Even though created inside the heads of four people. All in as we filmed it, was quite brutal. And failure, contempt and love. We met to talk it was a small episodic scene, in which he four of us entered our worlds of imagination, there were many obstacles to a visual por- about comedy and romance in cinema. was a visitor at an exhibition and the back and it was a very beautiful process. Then trayal of talent. of his head was visible as it ended, he knew it so happened that the pace of produc- How much of Anšlavs Eglītis’ ironic text this and turned his head and scratched his tion dramatically accelerated our peaceful Does the film feature a personified char- has made it into the film? ear. It’s a tiny thing, a milligram as it were, visuality. It was an unexpected change for acter of the 1930s Latvia? At other times I would have been very care- but it pulls one corners of your lips up me. The film that was ini- I had an important goal ful with using words. In Vogelfrei, some four into a smile. As concerns pausing, it’s like tially in our heads was very We really wanted to with which I started this words were uttered within the 30 minutes maths. A pause is a very strong element of different from the film we visualise talent. We process, namely to main- I directed. But in this film, Anšlavs Eglītis the comedic equation. I have given it some saw in the early stages of wanted to see what tain a respectful attitude for is valuable in and of himself. The language thought – of how to create a funny situa- production. Only then I talent means… the text and the way things is wonderful, like a melody, starting from tion and how to arrange the three steps in understood that the story when it happens. were back then as I knew such little words as “Is it within your ken?” sequence: one, two, three, and the audience and the many characters them. But it seemed accept- [Latvian: Vai jūs nenoģiežat..?] and so on. It’s laughs. For the viewer to laugh, it must be were very demanding, and that a lot of our able and commendable to me to give in to a thing of the past, but it’s such beautiful a very precise and pure method. The the- attention and of the film itself was taken up the way that this process led to unrealistic Latvian. And then there are the characters ory of laughter lays serious stress on being by the story. What we had to marry in the combinations. For example, we had a place living with language as an instrument. It’s precise. Different scenes allow approach- film was, on the one hand, Anšlavs Eglītis’ to shoot Bicēns’ workshop, and we had done very important to them to be able to express ing precision from different angles, but it’s nimble and tight story with many charac- preparatory work, and they withdrew at the themselves ironically, and Kurcums is the always a specific point which provokes a ters and, on the other hand, the nature of last moment. We went to look at a differ- protagonist to whom we allotted the most of counter reaction on the part of the viewer. the protagonist, a young person. The nature ent filming location, the former Literature Anšlavs Eglītis’ language. Speaking of jokes, I recently found a book that an American of an artist is slower. We really wanted to and Music Museum in the unrestored part I think there are but a few situations in the comedian wrote, analysing and teaching visualise talent. We wanted to see what tal- of the presidential palace. As we went into film that are funny without words. Language comedy. He said that comedy is a quest for ent means… when it happens. An artist is a room on the second floor, Jānis Eglītis is inevitably present. truth. Drama and tragedy are genres that a carrier and realiser of talent. The artist and I understood at once that this must be seek superhuman characters, but in comedy Džemma Skulme allowed us to meet her. It Bicēns’ workshop. But in the 1930s the same As you made the film, did you ask to the characters that are revealed are like you was mostly because Kristīne Krūze, starring room had housed the State Art Museum, repeat any scenes, saying: “No, this wasn’t and I in everyday life. They are fighting to as Ciemalda, wanted to talk with Džemma, and the walls were covered with paintings funny enough”? meet some goals, often not having the right because the artist’s mother, Marta Skulme, of the artists we considered candidates for No, I did not do that. I am convinced that if tools. And right away this makes the process was sort of a prototype for the character, the prototypes of Anšlavs Eglītis’ characters. you try to force funniness you’re asking for very amusing, sometimes funny and some- or at least we think so. At Skulme’s work- But I didn’t doubt that in this case we don’t trouble. times tragicomic. It seems very interesting shop the art historian Ingrīda Burāne, who need to be as historically accurate. Does

44 45 A Centenary Film Art

it make the reality of the film a fantastical heartfelt, I would accept it with open arms. reality? Most likely not. But this degree of Then it seems safer to me – if a man offers freedom was very important to me. it, then we’re on safe turf.

At first you wanted to make it a series. Do you think using romantic feelings for I did for a while, yes. It seemed completely manipulative ends is worse than using warranted, as Homo Novus is a novel that humour? Ten Artworks of the was published in a newspaper in 33 instal- I think that good humour is not manipula- ments, with a beginning, middle and an end tive. I like cerebral jokes. I like subtexts and to each part. But I am grateful for the way small things that the viewers notice. But life sometimes turns out. One of my friends all the speculations happen with the use of Centenary told me – here you were with your expen- sentiment, of drawing out cheap emotions. sive project of a costume drama, and there It’s not interesting to me. It’s not an inter- text Santa Hirša they were with issuing a centenary contest, esting experience to the viewer as well. And as though it were made just for you! it’s quite senseless too.

Will the film be romantic? Will the audi- What did working on this film do to you? ence have Have you changed? Self-portrait with a Red Neckerchief to cry? It was very important to Jēkabs Kazaks is present for but a small I think I am quite roman- It’s most likely the me for the film to be an moment of the period celebrated by the Lat- tic by nature. Therefore, film will have a lot of archaeological excavation vian state centenary – just two years, due to it’s most likely the film romantic stuff, but the of sorts. I have adopted his early death in 1920. Yet his innovative, will have a lot of roman- makers of the film had this from Krzysztof excellent artistic talents have caused heavy tic stuff, but the makers of no intention of making Kieślowski’s cameraman romanticizing of his image in the Latvian the film had no intention the audience cry. Slawomir Idziak. In one cultural space, conjuring, for many, associ- of making the audience cry. teaching session he said ations of someone fatefully chosen for an You’re allowed to do as you he thinks making films is artistic quest. Latvian art of the late 1980s please, however, as any emotional empathy an archaeological excavation. It is impor- creates similar feelings, making one think is rewarding to us. tant to start the shooting process with the about an unusual correlation between the episode that’s most important in terms complexity of an era and the drive of artistic Did it seem too personal for you to reveal of content, as by then you have found energy. Kazaks’ Self-portrait with a Red Neck- your romantic side? the crossing point and reached a better erchief (Pašportrets ar sarkano kaklautu) was No, I have no fear of opening myself up. I understanding of where you should dig painted in 1918, at a turbulent time when the have many other fears, both in life and on further – to the right, to the left, up, or Latvian independence battles were still rag- film. The most pronounced of my fears down. A wonderful conviction arises that ing. The tragedy of an age and of a person is is that what we’re making could be bor- a film already exists in another dimension reflected with equal strength, just like the ing, unclear, or senseless or unnecessary to and then you uncover it. And the shape brilliant brittleness and force of his person- the audience. And romance can be danger- in which the film reveals itself to you, all ality. Jēkabs Kazaks’ language of art reflects ous within the territory of senselessness these pleasant surprises – it’s a wonderful the modernist trends current in his time, Jēkabs Kazaks. Self-Portrait with a Red Neckerchief and boringness. Therefore I tried limiting process. but at the same time the looks, gestures and (Self-Portrait with a Palette). 1918. Oil on canvas. 80 x it on my end. But if someone, especially a movements of his art stand for something 58 cm. VMM GL-468. From the collection of the Latvian man, offered to do something romantic or outside time and this world, further mysti- National Museum of Art. fying Kazaks’ special significance in local art history.

46 47 Art Art

The White and the Black the cruelty of war, or in hasty portraits of the Aleksandra Beļcova’s painting The White life of prostitutes, the so-called “Madonnas and the Black (Baltā un melnā, 1925) is a no of Rīga”. The postcard imitation Memento less vivid testimony to its time, which, via From 1918. John Yperite (Mīļai atmiņai no the aesthetics of Art Deco and New Realism, 1918. gada. Džons Iperits, 1935) illustrates depicts welfare, comfort and elegance in its Padegs’ cynically harsh, highly sensitive feel- full expression. The double portrait depicts ing of life, which is expressed in most of his Biruta Ozoliņa, a young lady from a well- grotesquely expressive compositions. The off family, and Tao, the 16-year-old nanny of image of a beautiful, almost childishly brittle her child, who came from Thailand where and flirty woman is juxtaposed with a mon- Ozoliņa’s husband, the Italian count Gio- strously screwed and disfigured face of a vanni Amadori served as an envoy. Just a soldier, gradually losing its human features. few years later, Biruta divorced Amadori to This contrastive language that Padegs speaks Aleksandra Beļcova. The White and the Black. 1925. Oil on canvas. 100 x 120 cm. VMM GL-4818. From the collec- marry a rich French industrialist. She spent doesn’t lose its directness even in fully aes- tion of the Latvian National Museum of Art. her remaining years in Cannes, France. Mod- theticized paintings. With a sad resignation, ern audiences are probably intrigued by the he reminds us of romanticism as often the painting’s racist title. It indirectly shows only escape from the harsh injustices of the how the striving for the exotic, a prevalent world. attitude at the time , was also accompanied by the trend of exoticizing real people, and Come on, Girls! it reminds us of values that are thankfully The artwork which I would like to use to doubted within our society a hundred years characterise the first era of art under the on. Apart from the ideological message, the Soviet regime is referred to as Come on, Girls! composition and the story of the painting’s (A nu ka, meitenes!) from Latvian, while a heroine is a fascinating reminder about the translation from Russian refers to it as Brace glamour associated with interwar Latvia, Yourselves, Girls! (Saturieties, meitenes!). Lat- about a Fitzgeraldian-ly turbulent careless- vian-language information on the author ness and an aristocratic bohemianism. of the painting, Mikhail Kornetsky, is quite fragmented. He was born and raised in a Memento From 1918. John Yperite Russian-Latvian family in Moscow. He set- Kārlis Padegs is an artist everyone likes, just tled with his mother in Rīga in 1950, at the like the Twin Peaks series or travelling to far- age of 24, started studying at the Art Acad- away places. It’s unusual that his oeuvre is emy of Latvia and spent the rest of his life almost clear of works that seem unsuccess- here. The title of the painting, Come on, ful or unfortunate, and his variations and Girls!, as well as its composition, indirectly reprises of very similar motifs are likewise refers to the equivocal status of women fascinating. Padegs’ special role in Latvian in the Soviet society. The official ideology cultural history has been made more vivid by promotes full equality of rights, but in real- his dandy appearance, remarkable in Latvian ity a woman is limited by a double burden Mihails Korņeckis. Brace Yourselves, Girls! 1959. Oil on art. This image permeates not only his com- of morals and obligations, which has long canvas. 190 x 160,7 cm. VMM AG-2220. From the collec- plex persona but also his works. Their sad distorted local views on gender equality. tion of the Latvian National Museum of Art. Kārlis Padegs. Memento from 1918. John Yperite. 1935. irony doesn’t affect the elegance of the exe- Kornetsky’s painting is an accidental depic- Ink and watercolour on paper. 34,3 x 24,5 cm. VMM Z-6654. From the collection of the Latvian National cution and the perfect feeling for form even tion of this discrepancy. It shows laughing, Museum of Art. in completely brutal compositions depicting smiling workers who are happy with all the

48 49 Art Art

goods of socialism, but at the same time they on a knife-edge, allows adding Blumbergs’ are completely subdued to the male gaze, work to the most excellent achievements reacting to it with a body language consist- of 20th-century European scenography. In ent with a flirtatious situation. Kornetsky’s the history of Latvian art, Blumbergs has work shows the influence of the Severe Style, remained an unsurpassed philosopher of but myths about the working class illumi- the myths of life and death, and the existen- nated by the sun still abound, while the tialism characteristic of his work does not rough-sounding title of the work gives away become depressing or overpowering. their social status. Clocks Bridges The poetics of everyday silence are Gunārs Krollis. Bridges. From the series My Rīga. 1967. Gunārs Krollis’ graphic Bridges (Tilti) expressed strongly in Līvija Endzelīna’s art. Linocut on paper. 68 x 103 cm. VMM AL-223. From the collection of the Latvian National Museum of Art. from the late 1960s’ linocut series My Rīga The artist herself has avoided commenting seems to be an example of the 1960s Rīga on her work, and this secrecy is characteris- we intuitively know from new wave cin- tic of her paintings as well. In the 1979 work ema, nostalgic memoirs about the Kaza café, Clocks (Pulksteņi), the silence and other- Līvija Endzelīna. Clocks. 1979. Oil on canvas. 65,5 x 65,5 or Māra Brašmane’s photos. Even though worldly peace are almost physically felt. It’s cm. VMM AG-3054. From the collection of the Latvian the style of Krollis’ graphics is not part of the distinct realism of Endzelīna, directed National Museum of Art. the counter-culture or visual experiments by subjective, metaphysical moods instead inspired by Modernism, this work testifies of the urbanely cool, restrained recording of to a very romantic maximalism of youth and outside reality, copying photographic aes- the intoxication and elation that goes with it. thetics in the manner of hyperrealism that The monumental ornamentality of Gunārs was current back then. Her still lifes often Krollis’ linocuts is a code that you can’t mis- both approach the vanitas mementos about take for anything else, like a sweet greeting the transience of life, as well as express the from the interior of your grandma’s kitchen. need to settle into a very private world of objects, of things, as an unusual escapism Jeanne d'Arc from the official Soviet aesthetic of declara- Ilmārs Blumbergs entered Latvian art with tivism and poster-slogans. the Associative Symbolism characteristic of the 1970s, as well as intimately meditative Walks to Bolderāja content. He graduated from the Art Acad- As is suitable for avant-garde attempts to emy of Latvia with an excellently finished blur the line between art and life, Hardijs work, a stage set for the Russian Drama The- Lediņš’ and Juris Boiko’s Walks to Bolderāja atre play Jeanne d'Arc, which was reproduced simultaneously qualify and disqualify them- in the legendary Polish art magazine Projekt, selves from being art events. Even though and it was also placed on the front cover of these arose as rituals among spiritually the Soviet Union’s catalogue in the Prague close friends, due to the interest of West- Quadrennial of Performance Design and ern art professionals and the reorientation Space. The laconic white stage was turned of Latvian art people to the requirements of into the space of the heroine’s conscious- modern art at the time, the walks became Ilmārs Blumbergs. Stage set for the Russian Drama ness, which was slowly polluted by everyday conceptualised and viewed in the context of NSRD (Workshop For The Restoration Of Unfelt Feel- Theatre play Jean of Arc. 1972. Photo credit: Gvido scraps and finally overtaken in its entirety. performance art and happenings. NSRD’s ings). Walks to Bolderāja. 1987. Performance. Photo Kajons. From the archives of the Latvian Centre for credit: Māris Bogustovs. From the archives of the Lat- Contemporary Art. The subtle symbolism, delicately balancing (or Nebijušu sajūtu restaurēšanas darbnīca, the vian Centre for Contemporary Art.

50 51 Art Art

Workshop For The Restoration Of Unfelt Mobile Feelings) creative experiments are a very I wanted to mention Katrīna Neiburga’s substantial part of Latvian culture. Differ- Solitude (2005) as the final, chronologically ently from many other NSRD’s projects, most recent works, and to describe how this the Walks to Bolderāja did not include post- work stands for many of the most fortunate modern tinkering with the absurd, but with achievements of art in the 2000s – interdis- their introverted form they became a strong ciplinary, new media, a close connection to manifesto of a spontaneous, conceptually social realities, etc. But in the spur of the non-limited creativity, and the walk itself can moment I decided to conclude the centenary be viewed as a metaphor for every creative art list with Ivars Grāvlejs’ Mobile (2007), process there is. And then there’s no differ- which does not stand for, or represent any- ence whether the train tracks lead to China thing of what I just mentioned. Quite the Ivars Grāvlejs. Mobile. 2007. Video. Screengrab. or Bolderāja: every geographical location can contrary. His work up to now is completely generate everything there is, and NSRD’s opposed to the average trends in Latvian art, activities testify to the fact that the everyday but at the same time, functions as a reversed obtuseness of Soviet life had the potential to caricature, it includes and reflects a lot of be great artistic material, should it arrive at it. Grāvlejs is revealed as a questioner of all the hands of the right genius. art canons and a deconstructionist of all conformism in the video report Mobile, in White Wings which he went to chic art spaces and showed Oļegs Tillbergs is among the first genera- random audiences pornography he had tion of conceptualists who entered Latvian downloaded to his phone. It’s a provoca- art life in the late 1980s, which in the 1990s tively excellent and very precise commentary quickly freed itself from the values of Soviet about the status of art in a consumer soci- art, devoting themselves to experiments in ety, about the changing role of pictures and new media and form. Installations became a media in a digital culture, as well as an art- dominant art form, and Oļegs Tillbergs has a ist’s role in society. In the conclusion of the perfect command of its language. Industrial video, indignant keepers of the hearth of and natural material, ready-made objects and artistic morals asked security staff to remove substances became social metaphors, often him from an art opening. He’s almost a of a gigantic scale. In 1997, an international 21st-century Kārlis Padegs. scientific and practical conference, Oil Ter- minals in Eastern Baltics – Environmental Problems was held in Jūrmala. During which, Tillbergs created the installation White Wings (Baltie spārni). Sheets drenched in oil were flying above oil tanks, making audiences see birds in the abstract, unable to rise nor go further. One of Tillbergs’ most poetic and visually stunning works, it not only testifies to the breadth of his artistic strokes (every culture needs its own Joseph Beuys!) but Oļegs Tillbergs. White Wings. 1997. Installation. Jūr- also stands for the quintessence of monu- mala. Photo: From the archives of the Latvian Centre for Contemporary Art. mental poetics of Latvia’s installation art.

52 53 Society Our Sisters

text Santa Remere illustration Liāna Mihailova

This year, along with the centenary of the six were women. First and foremost they state we can theoretically mark a hundred tried developing civil equality of rights for years since Latvian women gained the right women, so that a married woman is not to vote. Women’s suffrage became effec- only an equal party but also gains respect tive together with the proclamation of the in the eyes of her husband and the public. Latvian state ¹ and was first exercised in the They championed law amendments that 1920 Latvian Constitutional Assembly elec- would extend the legal capacities of women, tion. Even though, unlike the French, the including the right to go to court, manage English or other Westerners, we can’t take their own property, work a salaried job, and pride in having a suffrage movement of our in separate cases to disobey the “head of the own, Latvia adopted a ready-made, progres- family”. An understanding of the identity sive and liberal model of government, like of Latvian women arose together with the many other new countries that arose after Latvian state and the Latvian national and the First World War. We can state identity. In the inter- be proud of the educated Our laws stipulate that war period, the works of and open society which was men and women are to Lilija Brante, Zenta Mau- ready to accept this model. riņa, Angelika Gailīte, Milda The fact that there was no have equal rights and Palēviča were published, heated debate over the mat- opportunities, but they as well as the culture mag- ter of giving women equal are not put to practice azine, A Latvian Woman, rights shows that, within in all areas. discussing female contri- the society of the time, the butions to literature, art, role of women in matters both domestic and and politics and the need for greater female public seemed self-evident, to a great degree involvement. thanks to the level of education among both Over the last hundred years, the sit- sexes and the efforts of early female pub- uation of women’s rights has improved lic and culture workers. It is worth noting positively both in Latvia and across the that all adult inhabitants of Latvia’s territory world. Our laws stipulate that men and could vote in the election of municipal del- women are to have equal rights and oppor- egates in the 1905 elections, held during the tunities, but they are not put to practice revolution, no matter their sex or ethnicity. in all areas. In the 12th Saeima, 16 out of In early Latvia, the right to vote did not 100 MPs are women; women’s pay is still mean equal rights, but it was a solid basis lower than men’s; and in many households for further development. Of the 164 depu- women still experience violence directed ties elected in the Constitutional Assembly, against them. These indications make one

1 The Russian Provisional Government was quick to introduce them in 1917, but the newly-established Lat- vian state followed this example from the very start.

55 Society Society

think that changes in legislation are not man to achieve success. She could also write down her ideas and thoughts and acute observations about enough to achieve an equal attitude towards Nowadays, having voting rights and an feelings in beautiful words. Literature country life on her own. both sexes; culture and upbringing should equal legal standing is not enough. The life became her chance to change the world. She was an avid reader and taught her- change too. stories of women have to be emphasized And even though the mischievous tease, self to become a private tutor, continuing That’s the goal with which Elena Favilli and written down to correct the mistakes as she would call herself, never got to play the ways of her parents, working in the fam- and Francesca Cavallo’s book Good Night of the past and to make it so that little boys in the theatre, she wrote wonderful poems ilies of strangers and silently observing their Stories for Rebel Girls was published. The and girls don’t continue the false precon- and plays with fiery and independent her- lives. She would write her first stories only biographies of notable women throughout ception that genius/talent/abilities/a fierce oines that could defend their opinions and about other people, as if she weren’t present world history were reduced to pithy 10-sen- character/perseverance equals “masculin- choices, just like she would. and her voice and opinion were of no con- tence tales, sketching out their personalities, ity”. These are characteristic of both sexes, Not only did she become the most sequence. But she not only had a voice but their main achievements and the efforts and girls need inspirational examples from prominent female writer of 20th-century Lat- also a strong foundation of moral values. they’ve made. The simple form of the tales their own milieu and their own sex; and via, but also one of the first women in Latvia Through hardships, she had learned perse- makes it easily observable that no matter boys need these examples, too, so that they to defend the right of women to go to uni- verance and developed a love of mankind. what the century, social status or geograph- judge women and girls they meet according versity, and choose their own profession Once, before Christmas, a Latvian ical location, the path to growth for almost to their abilities, not some sort of genetic and marriage partners. She did not gradu- director asked Anna to find and translate a all the heroines has a similar scenario: it’s a predestination. All the greatest people of ate from the gymnasium as she was married German children’s play, but she could not thorny world with countless obstacles and the world have grown out of boys and girls off to someone named Wilhelm against her find anything fitting so, in nine days, she stereotypes that young girls and women around us and inside us. As I read my chil- will. After a long and difficult process in wrote a play about Sprīdītis, a little boy who have had to overcome not only to develop dren the book about the greatest women court and in church, she was able to divorce would not put up with the way the world their talents in art, science and on the stage, in the world, I decided to write other good her unwanted husband. Elza used her expe- is and stands against it. Anna could finally or gain their political and social goals but night stories – it’s never too late to start rience to change the divorce law, allowing admit that she really did have a writing also to show, first of all, that they have the writing them down and to add to their both man and wife to end a marriage when it talent, an ability to understand the way chil- right to do it. number. doesn’t work and there is no love involved. dren see the world and feel the inner world Despite that many geniuses of this world “We must say no to the church and patri- of any human being. have often gone against the grain, finding a ELZA archal guardianship! Marriage has been Even when she was already recognised source of strength in opposing forces, there A hundred and fifty years ago, a girl was hitherto based on men’s supremacy, even as one of the greatest Latvian writers, she are many significant differences between the born into a prosperous Latvian family. She though all the weight of life in a natural avoided being the centre of attention. Her biographies of men and women. What has was given a long German name – Johanna environment was put wherever a woman sister Līza was married to a man she did been seen a matter of honour or a human Emīlija Lizete. She did not like it and when was with her child and she was respected as not love, and she later died in childbirth. failing for a man – be it a spiteful character, she grew up she changed it to the short and such,” Elza would declaim from the podium. Anna could not bear this and did not want bohemian ways, a criminal past, or creative sweet Elza. To the girl, it seemed that, just She later married Jānis – someone who felt to repeat this tragic fate. With her valuable failings – has caused shaming or condem- like her name, she could decide and change and saw the world like she did, and her pas- work life she proved that women, like every- nation for women, even from the people many other things in her life, but it was not sionate heart belonged to him. one else, can choose to shape their own closest to them. This has made them make easy to do it in the 19th century. personality and destiny. tough choices. Historically, the public has Starting from her early days, Elza ANNA expected women to be exemplary, motherly wanted to star in the theatre, but her par- Anna was the youngest child in a farm- MARGARITA and domestically adept – not heroic. There- ents objected, as they thought being an hand family. Each year, her parents would Margarita was a girl who could play for fore, we find very few heroines and female actress was too vulgar. A priest once visited go serve another master. Even though she hours, lost in the revelries of her imagina- geniuses in encyclopaedias, anthologies, and their house, and looking at the smart, ener- could study at a local school thanks to her tion, not seeing or hearing her surroundings. school and picture books. Women disappear getic and curious girl he said: “It’s a shame father, she would rarely have the chance to Most of all, she liked to watch insects and in the portrait galleries of male doctors, sci- you weren’t born a man. Good things would speak her thoughts out loud at the house- make little tots out of things found in entists, sculptors, inventors, and athletes, have come from you!” Elza wanted to prove hold table. As they moved each year, she nature. Margarita’s father had wanted to and therefore a myth is indirectly cultivated, him wrong. could not find friends, and therefore she was become an artist himself, and that’s why he namely, the one that you have to be born a Not only did she read and study a lot. left to silently ponder all her impressions, praised her talent and supported her when

56 57 Society Society

she wanted to study at the Art Academy of journalism and become a writer. UĻJANA said, “I love this game”, which became the Latvia, where she perfected a unique, bright, But writing demands everything from Once upon a time, a girl lived in Latgale’s motto of the National Basketball Associa- colourful and detailed style you cannot mis- a human being – it requires silence, being faraway Medumi village. She grew very fast. tion and the entire world basketball. That is take for anyone else’s. alone and moments of self-awareness. The village children made fun of her when why she is not just one of the tallest but also It so happened that at an international As one of her predecessors would say, “a she would appear at the end of a field: is one of the greatest basketball players in the study camp young Margarita met a Dutch woman must have money and a room of that a stallion running across the field, or is world. boy named Gerrit. They fell in love and her own if she is to write fiction”. But she it Uļjana digging up the potatoes? But the could not live without one another. But they had neither. Not in her childhood, when she girl did not mind, she was warm and indus- VAIRA did not get married, as for Margarita this lived with four of her relatives in a cramped trious and simply kept on growing. Like When Vaira was a little girl, the world went would mean moving to Holland and ceding working-class apartment in Rīga, and not everyone in her family, Uļjana liked skiing, to war and her family was pressed to move her painting success that she could pursue in her youth and student years, as she had paddling and playing ball. She was very sad away from Latvia, becoming refugees. Vaira only in Latvia. You can say she sacrificed her become the mother of three little daughters when she could not make it to competition ended up at refugee camps in Germany, personal happiness so that she could dedi- by the age of 26. Living without holidays, as she had to work on the fields. and then they went to Morocco and later cate her life to painting embroidered tots. without sufficient sleep and with no one to At thirteen, Uļjana was 6’2, and had to Canada. In each country, Vaira learned Margarita lived at a difficult time, when help her, without the chance to read books outgrown everyone else in Medumi. There a language, and she could speak five by the the Soviet power determined what you and improve herself, the young writer and was no place for her to grow anymore. Her time she grew up. But it was not enough. could draw and write in books. She chose mother learned to treasure every moment heart nearly broke when she had to go to She wanted to learn more, to understand to pursue the supposedly childish and less she could dedicate to her calling, and that’s Rīga, where she was invited the world and the way the valuable craft of fairy tales and illustrating why later in life she would never waste her to study at the Basketball Dressed in a blouse human mind, memory and children’s books, which gave her creative time on any other offices or obligations that school, and two years later adorned with folk signs language works. She became freedom, and she would perfect this ability would interfere with her writing. the girl had already made it and sporting a belt of a psychologist, a scientist to mastery, working for sixty years. “Every time I have to decide between a into the leading female bas- and professor, proving her- When Margarita was a grandmother and manuscript and a dust rag, I will prefer the ketball team TTT Rīga. But Lielvārde, she came into self in many leading offices. a famous, acknowledged artist, the Soviet former,” she dared to say publicly at a time not just her height contrib- the Latvian parliament But what Vaira loved state ceased to be and she could finally meet when women were still expected to take care uted to her growth, it was and was elected the most was researching Gerrit, the love of her youth. They even of the household. To become a writer, Regīna mostly her perseverance Latvian president. Latvian folk songs and pre- married at an old age, like in a happy fairy had to cultivate not only her own writing and a will to fight. serving their value, because tale. Twice as happy – we can only guess style but also her lifestyle, sometimes break- As part of TTT, Uļjana, now at 6’11, out- her most treasured memories were related whether she was happier to become a wife ing the norms accepted in society. grew Rīga and outgrew Latvia, which back to them. She thought that when you sing or about her little readers and her interna- She found her own space in walks with then was still part of the Soviet Union. Her folk songs and tell fairytales to a child, they tional recognition. No matter how you look the dog, in which, following the drive team soon scored gold medals at the USSR become part of the human being, just like at her art and style, Margarita was a true art- towards solitude, she said she walked tens championship and repeated the success they had become a part of her. ist, as through all the difficulties she did not of thousands of kilometres. Walking through 20 times, also winning the European cup Vaira returned to Latvia after more than lose confidence that she is doing her only the woods on her own, with her own wind 18 times – a success that has been written half a century had passed. Dressed in a and true work. and a silent partner beside her has allowed into The Guinness Book of World Records. blouse adorned with folk signs and sport- Regīna to write twenty books and become Her efficiency rating was almost twice as ing a belt of Lielvārde, she came into the REGĪNA one of the brightest representatives of large as that of any other player. In the 70s Latvian parliament and was elected the Teachers saw Regīna as a gifted but com- psychological prose in Latvian literature. and 80s she grew into the world’s lead- Latvian president. She quickly became the plicated girl with a stingy tongue and an Sometimes, the Author herself appears in ing basketball player, a two-time Olympic, most colourful leader in Eastern Europe, the unfettered imagination whose answers when Regīna’s stories and novels, in which dreams three-time world and 11-time European Iron Lady of the Baltics, and Latvia’s inhab- she was called to the front of class some- and visions – and the overlap between the champion as part of the USSR team. itants approved of her. She was especially times turned into vivid performances full of fantastic and the real – play a large role. And Uļjana is the first European female focused on foreign policy a lot, so that Lat- quotations. Small wonder that, from all her with the Author comes a dizzying spirit of player to make it into the US basketball hall via becomes part of the European Union and classmates it was she who decided to study freedom. of fame. As she received the award, Uļjana NATO. She became popular in the world

58 59 Society Centenary Things

for her explanations of Latvian 20th-cen- said so. She wanted to learn to write bet- tury history, and she was even nominated ter, but her parents thought that she should to become Secretary General of the United study economics as you could only make Nations. money that way. Being an obedient daugh- As she spoke to the people, saying ter, she did start studying economics, but “We are strong. We are mighty”, president the desire to write never left. After repeated Small Elements of Vaira asked every inhabitant, no matter effort, her first book of poetry was released, what their ethnicity, sex or social stand- and she wrote her first plays which were ing to actively work for their own and the staged, only then did Inga start to believe in state’s prosperity. She wanted people to let herself. a Big Anniversary go of the role of being life’s outcasts and To prove to her parents she could make to stand by the other nations of the world ends meet as a writer, Inga took up different with dignity. She especially stressed that jobs, but it was difficult to do several things illustration Toms Treibergs women have to participate in the economy, at once. When Inga worked on her book, her by becoming educated and setting up their day job suffered as a result and she had to own businesses. She thought that women change it. When her daughter was born, she don’t have to choose between being a sci- realised she does not have time to write any- entist or a mother. She also proved that no more. Even though there were two parents, position, including a lead- she was the one expected ing role in politics, should Inga is a feminist – to take care of the girl make women give up their someone who stands for instead of the responsibil- femaleness. women’s rights in the ity being divided equally. By 21st century as well. that time Inga had become INGA a respected poet, and she When Inga went to study in school, women did not agree to become a housewife. That’s could already work in the most different of why she stood up and said: “It’s not okay! industries. Latvia had become an independ- Women aren’t intended for men. Women ent country and it had its own Academy of are intended for themselves. And grown-up Culture. Even more – academy represent- women set their limits for themselves.” In the brilliance of big events we sometimes miss the nuances that atives came to Inga’s classroom in person, Each month, she leads female stand- create this brilliance and colour the event. The author of these asking her to study - writing. ups where women get up on stage and allow drawings, being a poet and an actor and not a professional illus- Inga was a shy and awkward girl, who themselves to be funny, rude and open. trator, has chosen personally important details that concern both had trouble speaking her mind. It seemed They share stories and female problems that creativity and tradition, thereby offering his own view of the ­invisible that whenever she expressed something that have hitherto been either unsaid or consid- things that make up the Centenary and its content. was important to her, an awkward silence ered isolated cases not characteristic of the set in, and that’s why the girl often chose group. Inga is a feminist – someone who not to speak. She was studious, had good stands for women’s rights in the 21st cen- grades and did not tell anyone anything, tury as well. For the right not to pretend even when others hurt her. and for the right to be unpleasant to some- Sometimes Inga succeeded in formulat- one. For equal opportunities in all areas and ing her feelings into poems, but she was not that everyone’s abilities and opinions are sure if they were good enough until others respected regardless of their sex.

60 61 Centenary Things Centenary Things

The Visit The Centenary Survival Kit

1. A repellent against ticks, mosquitoes and other 11. A map of Latvia for motorists. Scale: 1:500 000. unpleasant insects. 12. Wine from raspberries or other berries. NB: 2. Binoculars for bird watching. During the winter Excessive alcohol consumption is bad for your season, it’s also useful for watching operas from health! Consumption of alcohol is allowed in a distance. the Republic of Latvia from the age of 18. 3. A short Spinning collapsible fishing rod. 13. The Festive fireworks set, F2 category. NB: For 4. Chocolate-bar type candy Vinnijs, 400 grams. people aged 18 and above. 5. A short Sappers’ spade. Useful for commemo- 14. Aleksandrs Grīns’ historical novel Zemes atjauno- rative cemetery rituals, final gardening work, tāji (The Restorers of the Land) (1992), Rīga: and overcoming snow obstacles in the winter Avots, 445 p. season. 15. Pickles. 6. A set of programs and seasonal catalogues of art 16. A loaf of dark rye bread. museums, galleries and concert halls. 17. A citizen’s passport of the Republic of Latvia. 7. Sweetened condensed milk (non-boiled). NB: If the owner of the kit is a citizen of another 8. Four white shirts (unisex). country, it should be supplemented with an ID of the respective country or union of countries. 9. A lomography camera. 18. A multi-functional pocket knife. 10. A candle in a metal holder. Useful in memorial events and night-time get-togethers with family and friends.

62 63 Poetry Poetry

Poorly Drawn but Dear Friends

text Marija Luīze Meļķe

translation Lauris Veips

photo Ģirts Raģelis

A girl in a turtleneck with long hair hanging over her shoulders. An (later) expression of curious amazement. Pale eyebrows with darker spots On the right-hand side of the page there’s an unconvincing portrait of here and there. An elegant nose, despite its expressive arch. A narrow a young man. The ears and the chin line have been drawn repeatedly, face. The forelocks - symmetrically lighter than the rest, tucked encircled with stubble-like scribbles. Short, dark hair, glasses with behind her ears. round frames, a pair of eyes closed halfway and a slight grin behind them. Beside her, a boy with similar but thicker eyebrows than the girl's. Elongated eyes, a wide forehead, mouth, nose and chin - which does No, this needs another try. look a bit narrower when drawn anew. Very curly hair. A striped, open jacket with a dark shirt showing underneath. (another try) Shit, this is no good. I have a lot of work ahead of me – two blonde On one side of the next opening, a dark-haired girl with darkly boys, a girl very similar to one of them, and another with peculiar made-up eyes and lips. A small nose with a piercing between the makeup covering her entire face. I should also draw my little brother, nostrils, surrounded by freckles. She is wearing a hoodie. who has, by the way, grown abnormally tall, I mean, not abnormally but very. And my dear cat. But there goes another attempt, crossed On the other side, another girl. She has messy hair, cut short over out repeatedly, this time without attempting to completely cover the the forehead. A very similar nose to that of the first girl. Her lips very strange sight of unnaturally large eyes, again situated behind are pursed into a thinking expression. She's wearing a t-shirt with slanting glasses, a completely oval head and the rest distorted as well. “Reality is shit” written on it. The page beside it is empty and has marks of the beginning of a poem On the next page, a criss-crossed and crossed out field in the shape of about my inability to draw the person most vivid in my mind right a head. A round frame of glasses and eyebrows peeking through. now, perhaps because we’re not really friends, perhaps I’m making him appear here. I’ll return to this later.

64 65 A Personal Story A Personal Story

were quoting the National Alliance election that the recompense was twice as small as program. There are the silent patriots who he thought it’d be and was further dispirited. are close to being mute but are quick to do He screwed off before the last week when we everything they’re told. There are the adven- were meant to go to the forest. It’s the excep- ture seekers, and those who have to prove tions that stick with you. something to themselves and the world. And some who simply want to get fit. For some, This summer we had a whole lot of the final impetus to join was the Latvian bloody luck with the weather. Moving around state centenary. This is their gift to Lat- in your uniform, you suddenly realised via. There are some from the Youth Guard, that this weather only has two states: hot aching to finally shoot combat bullets and, and unbearably hot. Later, when we had to in addition, earn some cash for their daily walk in full gear (web gear + full backpack beer outside the Top supermarket. There are + gun), these were joined by a third state: some who fear a second Donetsk and the hell. Within twenty days I drank and sweated invasion of the little green men. Women are more under this sun than the previous scarce, our platoon only has three. One of thirty years combined. The face paint sim- them is from the Youth Guard. She is pre- ply streamed off your face. The unbearable paring for professional service and shoots heat prompted some corrective measures. better than most of the guys. The second They took pity on us, reducing the physi- is a veterinarian, one of the silent patriots cal training and allowing us to remove our it seems. The third has health problems. It service jackets. They made us drink a lot of looks like she weighs less than the equip- water and stay in the shade. The doctor’s tent The Patriot “Business” ment that we have to carry. But they’ve all came into vogue, as did the use of painkill- made it to the end. There are of course many ers. There was not enough food, and people text Aivars Madris photo Ēriks Kukutis others, each with their own story and their were swept off their feet from exhaustion own outlook. But in the process, everything and the heat. The scouts always say, “Be pre- When everything’s done, we’re taken back careless look. “Is your arm falling off? Is it has gotten mixed up, it overlapped and, pared!” But not everyone was. Some became to the battalion and transferred into the bleeding? The emergency room is open all of course, changed. There was a guy with dehydrated, and they were shuttled from the caring hands of the first sergeant. We’re pho- night, you won’t miss it…” severely injured legs. He couldn’t run, he camp straight to the hospital. It became even tographed for our ID’s and informed about As we clean our shooters in the workshop didn’t participate in physical training and hotter each day, and then shooting practice what awaits us in our further service. We that smells of oil, we conclude that they sim- told us he could lose his legs. His old man began – in the open air, of course. The feel- have to provide our contact details for the ply can’t let us out before the workday has brought him to the camp “on principle”. ings at the shooting range can be compared umpteenth time. In the end the first ser- ended, as we’d receive full pay for the entire After a week, his parents have taken pity to sunbathing in a fur coat while holding geant hints that it’d be good if we cleaned the day. We already gathered in the first three on him and taken their offspring away from dumbbells. The sweat ran into my eyes to the guns before handing them in, as after shoot- weeks that we spent at the camp – it’s impos- the camp. I’ve no clue to which category I effect that I mostly gauged my shot with my ing blanks, the guns have become wretchedly sible to clean such messy guns in the course belong. To all of them on some level, I guess. gut. It was all sweaty, oily, sandy and sore. dirty as if filled with tar. As I sway with a of four hours. But there really are human beings instead They promised us it’d be easier in the woods. feverish temperature, I try to draw attention The National Guard is a patriot thing or of categories. There was a guy in his thirties That it’d become cooler. to the possibility of my arm being broken, as “business”, as they say in the army. At least incessantly declaring that he doesn’t give a The 20-day camp of the National Guard it has swollen to almost twice its size within that’s what you’d think (or are supposed to damn. He was tormented by an innate dis- can be considered an army simulator with the past 48 hours, and I ask whether I could think?) before actually enlisting. But pat- ease of the gastrointestinal tract. He ate only a basic difficulty level. In the professional clean my gun some other day, as I would riotism is, of course, a difficult-to-define the stuff he’d brought with him and care- service, of course, everyone is fucked even profit from going to the emergency room. and very pliant concept. There are the hot- fully calculated how much he’d receive as a worse. That is what both the instructors The first sergeant frowns and gives me a blooded, loud patriots who speak as if they compensation for food. Later he found out and the professional soldiers we met during

66 67 A Personal Story A Personal Story

training kept reminding us. As I did my 130 are sent to Vietnam following an ardu- another and cooperate. That was the unwrit- the spirit, for once / Hail thee, infantryman reps, which I fairly deserved for the ammo ous stint in basic training. The unit lumped ten basis of the entire training. Generally / My favourite countryman.) We took such I threw around like confetti (though, con- together all soldier-type clichés you can speaking, life in the tent was like a field a wild liking to it that we shouted the song sidering it logically – what’s the difference imagine – jokers, smart-alecks, tough guys, trip. Someone put their socks and undies as our fire team walked in between lessons. between a bullet striking the sand fortifi- pussies and strangers. Strangely enough, wherever he wanted to. Someone tried to After a few days of heartfelt shouting my cations after having vs. not having hit the these clichés sometimes manifest themselves straighten out the mess. Someone else tried voice was so worn I couldn’t even whisper. cardboard target?), one of our supervisors in real life, especially if it’s at a place that to fart the entire tent full with gas, cheer- But the emotion was strong; we were some- told us he had to do 200 for every bullet he draws people of different social class, sex, ing himself on loudly. Someone else put on times moved to tears when our platoon was missed during training. It came to thou- age, education level, marital status, social sta- the airs of an English aristocrat, or at least able to find perfect harmony in stride, voice sands of reps a day, day after day, for weeks. tus, etc. Our platoon was also lucky enough tried to until his ears started showing signs and spirit. We were told that we’re pampered at the to be a motley crew. The jokers announced of high blood pressure. Of course, there was My eyes didn’t stay dry during the National Guard as it’s important to them themselves within the first few days. Emīls continuous bickering – about trivial mat- oath-taking ceremony either. That’s what to retain every single soul who’d enlisted. and Edgars quickly found common ground ters, training tasks, bossing others around chaplains are tasked to do, and they do their Meanwhile they only select the most fit, both and set up the Non-Reactive Unit, for which and what have you. “Boys will be boys,” the job well, even though their clichéd utter- morally and physically, for professional ser- the symbol and measure of all things was a old song goes. But girls, too, didn’t limit ances wouldn’t work half as well were it vice. That’s what we felt in the instructors’ strap-on you could buy at a sex shop. They themselves to the side-lines when the snafu not for the overall atmosphere. But as I was attitude, which was, in general, unexpect- took their calling seriously, even writing erupted. The guys returned the favour, with standing shoulder to shoulder with the com- edly compassionate with a few exceptions. up the Unit’s manual and ranks, christen- the insults sometimes going so low you rades I just met, looking at Mother Latvia But, like in school, the most respect went ing themselves Strap-on Generals, the chief started to think you’ve ended up at a juve- with an automatic rifle clinched in my hands, to the tough guys who could maintain dis- military men in the unit. The Non-Reactive nile detention centre. Conflicts took place on the chaplain’s clichés, filled as they were cipline and make themselves be heard. The Unit recruited studiously from the rest of our several levels – eye to eye, between the fire with flourishing pathos and pathos, sud- ones whose faces showed real experience platoon, as well as planned and carried out teams, and then the whole platoon was on denly came to life and even materialised. The you can gain only in the field, on missions in different “missions”. The most vivid of these edge. Nevertheless, everyone stayed friends responsibility and duty he invoked no longer Iraq or Afghanistan with real bullets flying at was their walk to the showers while dressed and no one fought for real, despite coming referred to an abstract unity but to us who you, real explosives detonating under your in ponchos and protective goggles. They very close to it. stood there. Of course, not everyone was feet and comrades at arms bleeding to death, accompanied themselves with the rather out- The greatest feeling of community that as sensitive. After the ceremony, we quickly squirting real, warm blood out of their bod- dated party hit, “Crazy Frog”. we had was during the evening walk when returned to our baseline humour. But, for a ies. Only one of the instructors fell into true Meanwhile Dižais (the Great) was the formation training was supplemented with moment at least, the air was pregnant with disfavour with some of the strapping young Gomer Pyle of the unit, if we recall the same the basics of military singing. We picked an unspeakable impulse of spiritual energy. lads of the Youth Guard by mocking him Kubrick film: the dim-wit who always man- the song ourselves and started with “Div’ I’ve saved the best for last, as is custom- openly, and Sasha, the undisputed strongman aged to get into a mess or screw something dūjiņas” (Two doves), which the instructors ary. The “woods” actually turned out to be and bigmouth of our platoon, even prom- up. There he was off for a piss, and got tan- thought was too doleful for keeping up mil- a training site surrounded by lush pines and ised to “fuck him up” after the camp finishes. gled in barbed wire. Then he released gas itary spirits but nevertheless accepted. We oak trees. The rain came, as promised, but, of All of this because the instructor, an ath- right in the middle of a speech by the HQ’s sang it at the top of our lungs, but another course, just as we were pitching our tents and letic corporal of Lithuanian descent, made first sergeant. He fell asleep during guard song was to become the hit of our platoon – putting the camp in order, and when we had big demands of us during physical training. duty under the gaze of the instructor. Sasha a song that our fire team instructor tipped us to do the night rounds. In an instant, all the True, he did step over the line, as the trainees was the cool guy who’s seen it all. He could about. It’s about a Latvian infantryman and equipment, the guns and the uniforms were could not do the exercises and were crit- do anything, did not shy away from talk- the instructor’s unit had made it up: "Paskat, covered in a thin layer of wet sand. Sand is icised openly for that. Some were injured ing back to his superiors whether it was māmiņ, kas tad tas? / Pēc marša kājas lupatās / the leitmotif for the entire final week. It got and there was an influx of complaints, which warranted or not. But during the march he Kājnieku saule aust / Miesā slapjš, bet garā sauss everywhere. Under your clothes, in your was evidently heard by the higher-ups as the carried two bags while helping others at the / Sveicu tevi, kājniek / Mūsu zemes saimniek." shoes and your hair, and even your diges- instructor later lowered his demands. same time. Everything was like in a film. But (Mommy, would you look at that? / After the tive tract as the food, too, seemed to have Do you recall Kubrick’s Full Metal Jacket? maybe the films got it right about real life? march, my legs are squashed / There rises been sprinkled with sand. Comrade heat It’s a story about a unit of US marines who Of course, we had to live with one the infantry sun / Wet in the flesh but not returned as well. Meanwhile the workload

68 69 A Personal Story

kept growing. Firing and movement train- had to take him to the patrol base. “This is ing took place in the forest – this includes it. One last job,” as they say in the movies. the two things I mentioned, namely shoot- Everyone was shouting at one another and the ing blanks until your ears are ringing, and sergeant’s voice rose above all. Surprisingly, running lightning-speed across ditches and we managed to put together the stretcher. mounds towards total victory or – the oppo- Surprisingly, we managed to put a pressure site – a retreat even quicker than lightning. bandage on the wound. Surprisingly, we were Thankfully, no one broke anything. But it’s able to quickly fill up and cover our defensive not as if we went entirely without trauma. positions with moss. Thus began the long- On the night before the concluding exam we awaited and fabled Golgotha – a march after had an emergency drill, which wouldn’t have which the camp would end, and the National been anything tragic if I hadn’t bruised my Guard who’d undergone basic training would elbow as I rushed through the dark. It started be handed their berets. But we had to get swelling rapidly and pain shot through my there. The road ahead of us wasn’t long, likely body, but there was no time for surrender a few kilometres in lieu of the traditional as there were only 24 hours to go. We went twenty. But our “wounded comrade” and his into the woods and set up a patrol base. The equipment, which we also had to carry, made fever got to me steadily, but the countdown us feel the theory of relativity in practice. The was already flashing in front of my eyes, just sergeant, marching ahead of us, made full use like the red digits running across a display of the surrounding terrain, and so the march of explosives. Sleeplessness and exhaus- turned into a dynamic mountain hike with tion made me paranoid, it was clear that we elements of an obstacle course. As we arrived would be attacked on the final night. We had at our destination – the evacuation point – I two people doing guard duty so that every- had so little strength left I could barely drink. one gets a chance to sleep, but we decided But the greatest blow was still ahead of us. As to guard all the positions on rotation every we returned to our jokes and relaxed, one of half an hour. Of course, no one did attack but the mid-life guys fainted. Now we had a real our sleep was completely botched. The ser- injured person; it was no simulation. Jānis geant nevertheless arrived at seven a.m. and was carried away on the same stretcher on took us to an ambush place for the main part which the corporal, our previous “casualty”, of our exam. We dug deep into the moss and had slept cosily earlier. Later we would learn lead an immobile existence until the signal that it turned out well but that he had to stay sounded. A veritable zoetrope ran through at the hospital to recover from dehydration. my head, while the elbow reminded me of We strolled down the hill for our berets, sing- itself with small, insistent pulses of pain, as ing the song about the Latvian infantryman. if a woodpecker were busy with my arm. To Back in the camp, one of the attractive cheer myself on, I thought about what the department Charlie corporals was there to instructor of our fire team had said – that he greet us. had marched for 30 kilometres with a bro- “So, how was the camp? Ain’t worth sh**, ken leg after bandaging it with tape. Shots innit?” he laughed. Jānis, who had fainted, was were rattling, and the enemy was destroyed still before my eyes. The swollen arm pulsed successfully. Nevertheless the sergeant had all the way through my brain. But I managed a surprise in store for us. An imaginary gre- to form my lips into a smile. I joined the oth- nade wounded the other instructor and we ers, saying, “Of course. No f***s were given.”

70 72