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Eesti kultuuri suurpeod maailmapärandis
Copyright policy )Eesti kultuuri suurpeod maailmapärandis
The tradition of Estonians’ cultural festivals is a rich topic and may be considered profoundly distinctive for Estonian people. It is a unique way of maintaining and advancing the traditions of national heritage through a variety of activities. Since after World War II a forced separation took place in Estonian national culture and many citizens of the former Republic of Estonia escaped from the Soviet occupation to the Free World (thereby splitting geographically into the groups of homeland Estonians and Estonians abroad), the tradition of cultural festivals continued on both sides of the Iron Curtain, in an effort to maintain traditions under different circumstances. This special issue of the journal is the outcome of a project begun in 2012, to investigate the role of folk dance hobby activities and festival traditions in the maintenance of national culture. During the compilation of the special issue the focus shifted towards the question of the role of Estonians’ traditional festivals in the ever-changing world – their viability and transmission of the traditions of national identity both in Estonia and abroad. This issue covers the experiences of hobbyists in traditional cultural activities, their involvement in festivals, and their cultural contribution, both in Estonia and in communities outside it. Among the basic themes of the articles the following deserve special attention: the place of the Baltic countries’ song festivals in the world cultural heritage and the relationship between new and traditional songs; the role of dance festivals in the preservation and transmission of traditional dancing skills in contemporary Estonia and the nature of cultural heritage being maintained at dance festivals; the role of folk dance among the Skolt Saami, our neighbours in the North, in shaping their history, identity, and future, as well as the connections between contemporary Skolt Saami folk dance and identity; the revitalisation of old folk musical instrument traditions both in Estonia and among the Estonian diaspora; the split and repression in the realm of choir music, due to the forced separation by a foreign power; the recording of World War II refugees’ cultural events on narrow gauge film in Sweden and the identification of the filmed individuals by a group of experts. Another and not less important goal of this issue is to stimulate a more wide-ranging discussion in Estonian society about the role of hobbies and traditional festivals, especially outside Estonia, which are an integral part of Estonian national culture and Estonian folk culture.
- Tallinn University Estonia
Library of Congress Subject Headings: lcsh:Ethnology. Social and cultural anthropology lcsh:GN301-674
Microsoft Academic Graph classification: media_common.quotation_subject Art history Folk dance Art media_common
Cultural Studies, Anthropology, hobby activities, festivals, tradition, folk dance
Cultural Studies, Anthropology, hobby activities, festivals, tradition, folk dance
Library of Congress Subject Headings: lcsh:Ethnology. Social and cultural anthropology lcsh:GN301-674
Microsoft Academic Graph classification: media_common.quotation_subject Art history Folk dance Art media_common
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2 Vt http://www.tlu.ee/et/Loodus-ja-terviseteaduste-instituut/Teadus/konverentsid/Eestikultuuri-suurpeod-maailmaparandis (10.03.2016).
3 Stanislav Nemeržitski ja Iivi Zajedova ettekande põhjal kirjutatud artikkel ilmus Mäetaguste 62. numbris (2015b).
5 Salvestatud videointervjuud asuvad praegu uuringus osalejate valduses, neile otsitakse sobivat hoiukohta. Väljaspool Eestit ilmunud väliseesti seltside ja ühenduste väljaannetest kasutati nt ka: Stockholmis väljaantud Eesti kroonika 1957; Eesti Rootsis (1976); Adelaide'i Eesti Folkloori Rühma albumit Eesti rahvatants Adelaide'is, LõunaAustraalias 1948-1993; Austraalia Eesti Seltside Liidu Eestlased Austraalias I (1988) ning Eestlased Austraalias II ja Uus-Meremaal (1993); ajaloolist koguteost Eestlased Kanadas II (1985); Kanadas välja antud ESTO 84; Lääneranniku eesti päevad 1953-1999; Seedrioru, 1955-1980 (koguteos eestlaste tegevusest Kanadas).
6 Saar Poll OÜ kultuuritarbimise uuringu 2003. aasta aruanne (http://www.saarpoll. ee/UserFiles/File/kultuuritarbimise_uuring_2003.pdf, vt ka tabelit lk 10); Marju Lauristini ja Peeter Vihalemma poolt 2013. aastal läbiviidud sotsioloogiline uuring kinnitas, et “tantsupidudel on osalenud 10%, publiku hulgas olnud 36% ja ülekandeid jälginud 77% rahvast” (vrd ka Vissel 2004).
7 Vt lähemalt: http://sa.laulupidu.ee/unesco/2009 (05.04.2016).
8 Vt http://www.rahvakultuur.ee/s2/1652_10540_613_Loe_edasi.pdf.
9 Vt ka Eesti Rahvatantsu ja Rahvamuusika seltsi kodulehel uudist “Täna, 100 aastat tagasi, esitati eesti rahvatantse esimest korda laval!” (http://www.errs.ee/ - 31.03.2016).
10 Tookord kuulus ÜENÜ ridadesse juba üle Eesti 176 rahvatantsu harrastusrühma kokku 3000 tantsijaga. Ja kuigi tantsupeod algasid 1930. aastail spordipidustuste osana, sai rahvatants nende tooniandvaks osaks (vt Arraste jt 2009: 9).
11 Sille Kapperi dissertatsiooni uurimuslikus osas jälgitakse 21. sajandi rahvatantsu üldmõiste väljakujunenud tähenduste paljusust (kättesaadav TLÜ Akadeemilise Raamatukogu repositooriumis E-Ait http://e-ait.tlulib.ee/341/).
12 Otstarbekaks peeti tegeleda uuringu käigus süstemaatiliselt tantsuvaldkonna mõistete defineerimise ja piiritlemisega (analoogselt muusikauuringutega). Rahvatantsu mõiste muutumine ajas ja seosed erinevate diskursustega nagu folkloor, rahvus, harrastustegevus ning seotus tervise- ja suhtlemisprobleemidega on eriti laialivalguv ja seega ka problemaatiline ülesanne (Kapper 2012; Kapper 2013b; Kapper 2015; Rüütel 15 Soome-Eesti III tantsupidu, Austraalia Eesti Päevad (vt http://www.ep2012sydney. org.au/index.php), Estival (http://www.estival.se/), Seedrioru Suviharja, LEP-ESTO (http://lep-esto2013.com/), XXVI laulu- ja XIX tantsupidu.
citations This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).0 popularity This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network.Average influence This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).Average impulse This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network.Average citations This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).0 popularity This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network.Average influence This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).Average impulse This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network.Average
Popularity provided by BIP!- Tallinn University Estonia
The tradition of Estonians’ cultural festivals is a rich topic and may be considered profoundly distinctive for Estonian people. It is a unique way of maintaining and advancing the traditions of national heritage through a variety of activities. Since after World War II a forced separation took place in Estonian national culture and many citizens of the former Republic of Estonia escaped from the Soviet occupation to the Free World (thereby splitting geographically into the groups of homeland Estonians and Estonians abroad), the tradition of cultural festivals continued on both sides of the Iron Curtain, in an effort to maintain traditions under different circumstances. This special issue of the journal is the outcome of a project begun in 2012, to investigate the role of folk dance hobby activities and festival traditions in the maintenance of national culture. During the compilation of the special issue the focus shifted towards the question of the role of Estonians’ traditional festivals in the ever-changing world – their viability and transmission of the traditions of national identity both in Estonia and abroad. This issue covers the experiences of hobbyists in traditional cultural activities, their involvement in festivals, and their cultural contribution, both in Estonia and in communities outside it. Among the basic themes of the articles the following deserve special attention: the place of the Baltic countries’ song festivals in the world cultural heritage and the relationship between new and traditional songs; the role of dance festivals in the preservation and transmission of traditional dancing skills in contemporary Estonia and the nature of cultural heritage being maintained at dance festivals; the role of folk dance among the Skolt Saami, our neighbours in the North, in shaping their history, identity, and future, as well as the connections between contemporary Skolt Saami folk dance and identity; the revitalisation of old folk musical instrument traditions both in Estonia and among the Estonian diaspora; the split and repression in the realm of choir music, due to the forced separation by a foreign power; the recording of World War II refugees’ cultural events on narrow gauge film in Sweden and the identification of the filmed individuals by a group of experts. Another and not less important goal of this issue is to stimulate a more wide-ranging discussion in Estonian society about the role of hobbies and traditional festivals, especially outside Estonia, which are an integral part of Estonian national culture and Estonian folk culture.