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Traditional Culture in Estonia ' ~ ~?. 'f~~~ The Baltic Nations: Estonia . t;;i! Traditional Culture in Estonia Ingrid Ruutel n prehistoric times the Finno-Ugric tribes, including ances­ I tors of the Estonians, populated vast areas between the Ural Mountains and the Baltic Sea. Estonian culture developed in close contact with the Batts (ancestors of the Indo-European Latvians and Lithuanians) and other Indo-European peoples: Scandinavians, Germans, and later also Russians. In the 13th century the Estonians were conquered by the Danes and Germans. In time, the German landholders took possession of the entire territory ofEstonia, and most Estonians were reduced to serfdom. In 1721 Estonia became part of the Russian empire. Estonian The Baltic Nations: Estonia peasants remained serfs of the German annexation to the Soviet Union in 1941. Russians and Germans for hundreds of landholders until the feudal system was This was in turn followed by the Nazi years. It continues to be vital in the pre­ abolished in the middle of the 19th occupation. Both occupations were sent, because of the large Russian popu­ century. The antiserfdom movement was accompanied by political repression and lation in Estonia and because, as accompanied by a national awakening deportations; Estonia lost onefourth of its UNESCO's "Recommendation on the with emphasis on Estonian-language population. These losses were "replaced, " Safeguarding of Folklore" (1989) education and publications and collect­ in accordance with the Soviet resettlement describes, small nations are always more ing folklore, as well as on political rights. and russification policy, by hundreds of threatened by cultural assimilation in On February 24, 1918,following the thousands of colonists from Russia. the situation where the adherence to Russian Revolution, the independent The perestroika led by Gorbachev one's own culture "is often eroded by the Republic of Estonia was proclaimed. The sparked a unique movement, known as impact of the industrialized culture pur­ war of independence against Russia was the Singing Revolution, in Estonia and veyed by the mass media." ended by the Tartu Peace Treaty on other Baltic states. The efforts by In two regions of Estonia the living February 2, 1920, when Russia agreed Estonians to restore their independence tradition of folk song, dance, and music forever to relinquish claims over Estonia. succeeded,· on August 20, 1991, the inde­ has managed to survive with its integrity Nevertheless, the secret agreement in pendent state ofEstonia was restored. intact up to the present time. These are 1939 between Hitler and Stalin, the noto­ the small island of Kihnu, off the western rious Molotov-Ribbentrop Pact, resulted in stonia's folklore today falls coast of Estonia, and the southeastern the Soviet invasion ofEstonia and its into three basic categories. corner of Estonia, Setumaa. There is a repertoire of con­ In Kihnu, people have preserved the temporary folklore - anec­ ancient wedding ceremonies, singing old dotes, children's games and alliterative verses in Kalevala meter (the rhymes, student songs, etc. - which is regilaulud or runosongs), and dancing orally transmitted. Traditional music, traditional folk dances. Such weddings dances, and tales, which live in the mem­ derive from clan wedding ceremonies ories of older people and continue to be that confirm the contract·between two practiced, are orally transmitted and also lineages. They have pre-Christian origins preserved in archives (the central archive and are essentially similar to the ancient for folklore and traditional music being wedding rites of other Baltic-Finnic peo­ the Estonian Folklore Archives in Tartu ples. The "two-part" wedding is celeb rat­ at the Estonian Literary Museum). The ed separately at the homes of both the third form, the so-called secondary tradi­ bride and the groom; the old ritual songs tion or folklorism phenomenon, consists are performed at the main events in of traditional heritage that has been which both clans participate. transmitted through written sources, An important wedding rite is the distri­ tapes, radio and television programs. It bution of the dowry. The bride's dowry takes on a "second" life in modern soci­ chest has to be filled with items made by ety, in a new context, and is a resource her and her friends, and this tradition for contemporary amateur and profes­ has supported the persistence of handi­ sional art practice. craft skills. Also worth noting is that the The preservation of national culture wedding ceremony includes dancing of and identity has been a vital question in old folk dances, which in other settings Estonian history: nation-building as well were long ago replaced by modern as our very persistence as a nation have dances. Only in the last decade have old been extremely difficult under various folk dances regained their place along­ occupations and subordination to side contemporary dance forms in Kihnu's public social events. Aregion where traditional culture has persisted with­ Although the old wedding rites and out disruption is Setumaa. Pictured is a Setu wedding. songs have lost their religious and magi­ Photo by Kaido Haagen cal connotations, they have retained their SMITHSONIAN FOLKLIFE FESTIVAL 61 The Baltic Nations: Estonia remarkable characteristics of Kihnu cul­ ture is its ability to integrate various ele­ ments over the course of time without losing its basic substance. The new has not completely superseded the old. Performing groups on the mainland have adopted some Kihnu songs, dances, and instrumental melodies in their repertoire. Kihnu folk songs have also inspired professional composers. Thus Kihnu culture, though mainly in its newer forms, is perceived as an integral component of Estonian national culture. Organized folklore groups have become important mediators between traditional and contemporary culture; young people accept such a medium for learning and perpetuating the cultural heritage of their parents. The most ABOVE In 7989, to famous such group today is Kihnumua, protest Soviet directed by Katrin Kumpan. Performers occupation, Baltic in the group represent a mix of genera­ people joined hands tions. Members of Kihnumua are fre­ to form a human chain quently invited to weddings to perform that stretched from the role of traditional wedding singers. Estonia, through Latvia, Wedding songs are led by the older to Lithuania. Photo by women in the group; girls sing as a cho­ Peeter langovits rus and assist the brides. Another region where traditional cul­ RIGHT St. John's Day ture has persisted without disruption is celebration on Kihnu Setumaa, a relatively isolated area whose Island, Estonia. Photo by population is Eastern Orthodox. Its Veera Nazarova ancient folk song style has been pre­ served, and the elderly women are still symbolic significance. They promote the ther influenced the culture on Kihnu masters of their local singing language importance and festiveness of the wed­ island. Radio, television, tape recorders, to the extent that they are able to impro­ ding for the bridal couple and their fami­ and recently also video have become a vise new songs in the traditional manner. lies, help to prepare the bride for her new part of daily life, disseminating the glob­ Also important in Setu are the village social status, and remind the newlyweds al commercial culture; passive listening feasts - kirmased- which sometimes about their duties and responsibilities. has replaced active participation. Many coincide with a traditional calendar cele­ The main bearers of tradition in Kihnu Kihnu youth study on the mainland, bration such as Easter. Setumaa is the have been women. Kihnu men long ago where they take up residence after they only region of Estonia where death discarded their traditional attire and graduate. In summertime they visit their laments and rituals of ancestor cults, songs, and the playing of traditional native island and bring forms of contem­ such as a commemorative meal on a musical instruments, which used to be porary urban culture with them. Never­ grave, have been preserved. men's domain, has today been adopted theless, when at home in Kihnu, girls Setu singing deviates considerably by women (mainly young girls). Sea­ wear traditional striped skirts (the fabric from other Estonian folk singing, partic­ farers since time immemorial, the men is always woven at home, even if the ularly in its polyphony and performance have brought innovations back home. looms are borrowed) and sing and dance style. The Setu dialect is likewise unique, The openness of modern society has fur- old Kihnu songs and dances. One of the even incomprehensible to a northern 62 SMITHSONIAN FOLKLIFE FESTIVAL 1998 The Baltic Nations: Estonia Estonian. While being an essential bearer National song festivals are large affairs with the participants numbering in the tens of thousands, and the of identity for the Setus, Setu folk songs, audiences in the hundreds of thousands. Pictured is the 7990 A/1-Estonian Song Festival. Photo by Gustav German like the culture as a whole, strike other Estonians as strange. This strangeness is Organized amateur cultural activities nels is always more popular. sometimes a source of embarrassment to have provided urban Setus with such an Still, during the last decade, recogni­ Setus and has caused serious problems opportunity to consciously practice their tion of local cultural traditions has for those who have migrated to towns heritage. Setu ensembles of singers are grown and consequently enhanced the and tried to maintain their identity. active both in Setumaa and in cities appreciation of the native culture by its A performer and researcher of Setu where Setus have settled. They come bearers both in Kihnu and in Setu. But it culture, C>ie Sarv, who is the grand­ together at the leelopaev festival every is impossible to revive all the old forms, daughter of a great Setu singer, Anne three years and various other events. and noticeable changes have taken place Vabarna, writes: Their main objective is not to perform in those that have been retained.
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