New ecovillage communities, and individuals who simply move from the towns to the countryside in Estonia, are inspired by a desire to be involved in heritage preservation, local customs, and traditional skills. Ecovillages are keen to attract people who are skilled in various traditional handicrafts, while craftspeople, in turn, may encounter fewer problems finding the facilities and raw materials needed to practice their crafts on moving to the countryside. The present paper focuses on activities in five new rural communities from the perspective of craftspeople. We asked them to describe their initial incentives for establishing and joining the respective communities, and the directions of their joint activities. We documented a significant diversity among the five communities. Some were self-evolved, while others had been deliberately established. Some communities had local roots, while others were spearheaded from elsewhere. Some of the communities sought idyllic landscapes and indigenous culture, social life, and friendship, while others valued the region's economic potential. We found highly skilled niche producers in excellently equipped workshops who were involved in so-called content-focused activities in various manor estate buildings renovated with the help of European Union funds, as well as those starting from scratch on principle. Community representatives included those striving for the greatest possible economic independence and minimal ecological footprint, as well as those looking for opportunities to recreate the kind of farming life typical of last century, based on work carried out by people and horses — and, across almost all groups, people with a keen interest in a wide variety of handicraft skills from the past. We also observed other, personal motivations and experiences among our respondents — for example, how they had been invited there, what supported their move, and what they found problematic. We were interested in the present state of affairs: how the community contributes to their new skills and practices; how the new community and other local inhabitants manage communication networks; and how they see themselves and their way of life in their new home. We were keen to find out whether the symbiosis of local nature, old values and skills, and innovative and fresh practical solutions will prove sustainable in the long term.
{"title":"Artisans Seeking Shelter: Craftspeople Moving to the Countryside and (New) Local Communities","authors":"Madis Rennu, A. Rõigas, Lii Araste","doi":"10.1556/022.2021.00028","DOIUrl":"https://doi.org/10.1556/022.2021.00028","url":null,"abstract":"\u0000 New ecovillage communities, and individuals who simply move from the towns to the countryside in Estonia, are inspired by a desire to be involved in heritage preservation, local customs, and traditional skills. Ecovillages are keen to attract people who are skilled in various traditional handicrafts, while craftspeople, in turn, may encounter fewer problems finding the facilities and raw materials needed to practice their crafts on moving to the countryside. The present paper focuses on activities in five new rural communities from the perspective of craftspeople. We asked them to describe their initial incentives for establishing and joining the respective communities, and the directions of their joint activities. We documented a significant diversity among the five communities. Some were self-evolved, while others had been deliberately established. Some communities had local roots, while others were spearheaded from elsewhere. Some of the communities sought idyllic landscapes and indigenous culture, social life, and friendship, while others valued the region's economic potential. We found highly skilled niche producers in excellently equipped workshops who were involved in so-called content-focused activities in various manor estate buildings renovated with the help of European Union funds, as well as those starting from scratch on principle. Community representatives included those striving for the greatest possible economic independence and minimal ecological footprint, as well as those looking for opportunities to recreate the kind of farming life typical of last century, based on work carried out by people and horses — and, across almost all groups, people with a keen interest in a wide variety of handicraft skills from the past. We also observed other, personal motivations and experiences among our respondents — for example, how they had been invited there, what supported their move, and what they found problematic. We were interested in the present state of affairs: how the community contributes to their new skills and practices; how the new community and other local inhabitants manage communication networks; and how they see themselves and their way of life in their new home. We were keen to find out whether the symbiosis of local nature, old values and skills, and innovative and fresh practical solutions will prove sustainable in the long term.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49519817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Latvian folk crafts are characterized by a predominance of women's handicrafts: weaving, knitting, embroidery, and so on, which are practiced both in groups and individually. This article focuses on the interaction between cultural heritage and creative trends in folk crafts in Latvia, examining the way in which artisans learn traditional crafts and the main areas of their activity. Given the context, the aim of this paper is to provide an overview on the development of Latvian handicrafts today based on empirical study which relied on information found on social networks about the latest activities of craftspeople. In addition to personal observations, publications dedicated to the development of folk art in Latvia during the Soviet period and today were also used as sources for the study. In recent years, the growing popularity of the Latvian national costume has stimulated the desire of many people to not only wear the costume but also learn how to make their own version. The Latvian national costume is a combination of various types of handicrafts, and some elements of folk costumes are also used in modern clothing. Nowadays, learning crafts in studios and hobby groups has become the main way to acquire handicraft skills. Training in these settings is based on ethnographic research and information available from modern sources. Works created in handicraft studios and hobby groups are regularly exhibited at local and national exhibitions. Craftspeople in modern-day Latvia merge the study of traditional, ethnographic material with creative self-expression in the production of objects for modern use. Creativity and inherited traditions are therefore combined to various extents depending on the type of objects and their use. Masters of traditional handicrafts participate in the annual public workshop series called Meet Your Master!, which has become a well-known event for popularizing folk crafts in Latvia.
{"title":"Learning, Practicing, and Developing Traditional Handicrafts in Latvia Today","authors":"Anete Karlsone","doi":"10.1556/022.2021.00033","DOIUrl":"https://doi.org/10.1556/022.2021.00033","url":null,"abstract":"\u0000 Latvian folk crafts are characterized by a predominance of women's handicrafts: weaving, knitting, embroidery, and so on, which are practiced both in groups and individually. This article focuses on the interaction between cultural heritage and creative trends in folk crafts in Latvia, examining the way in which artisans learn traditional crafts and the main areas of their activity. Given the context, the aim of this paper is to provide an overview on the development of Latvian handicrafts today based on empirical study which relied on information found on social networks about the latest activities of craftspeople. In addition to personal observations, publications dedicated to the development of folk art in Latvia during the Soviet period and today were also used as sources for the study. In recent years, the growing popularity of the Latvian national costume has stimulated the desire of many people to not only wear the costume but also learn how to make their own version. The Latvian national costume is a combination of various types of handicrafts, and some elements of folk costumes are also used in modern clothing. Nowadays, learning crafts in studios and hobby groups has become the main way to acquire handicraft skills. Training in these settings is based on ethnographic research and information available from modern sources. Works created in handicraft studios and hobby groups are regularly exhibited at local and national exhibitions. Craftspeople in modern-day Latvia merge the study of traditional, ethnographic material with creative self-expression in the production of objects for modern use. Creativity and inherited traditions are therefore combined to various extents depending on the type of objects and their use. Masters of traditional handicrafts participate in the annual public workshop series called Meet Your Master!, which has become a well-known event for popularizing folk crafts in Latvia.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45769756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Hungary, the academic study of folklore started at the turn of the 20th century. In the period between 1889 and 1920, institutions for the study of folklore and ethnography were established. The author points out that ethnographic collections in this era were motivated by concern about the loss of folk culture phenomena owing to changes brought by modernisation. Major arguments for the establishment of the Hungarian Ethnographic Society as well as the Museum of Ethnography referred to the need to salvage endangered items of folk culture from vanishing. Folklore collections were interpreted as rescue missions aiming to save material in the penultimate moment. The author of this paper investigates the way in which an outstanding folklorist of the period, Lajos Katona (1862–1910), professor of comparative literary studies, defined the essence, purpose, and method of ethnographic/folklore collections. Katona urged on several occasions that collectors of folklore be equipped with professional guidebooks and other auxiliary materials. He played a role in the popularisation of the activities of the Folklore Fellows, furthering the establishment of a network of voluntary collectors. Empirical data collection in the field is a central notion of folklore studies, one of the most important methodological and epistemological categories of the discipline, which functions as a distinctive feature differentiating it from other fields of study. Therefore, it is of central importance to shed light upon how and why the principles of the collection and recording of folklore phenomena in oral culture have changed.
{"title":"At the Eleventh Hour. The Principles of Folklore Collection in the Scholarly Oeuvre of Lajos Katona and in Hungarian Folklore Studies at the Turn of the 20th Century","authors":"Ildikó Landgraf","doi":"10.1556/022.2021.00023","DOIUrl":"https://doi.org/10.1556/022.2021.00023","url":null,"abstract":"\u0000 In Hungary, the academic study of folklore started at the turn of the 20th century. In the period between 1889 and 1920, institutions for the study of folklore and ethnography were established. The author points out that ethnographic collections in this era were motivated by concern about the loss of folk culture phenomena owing to changes brought by modernisation. Major arguments for the establishment of the Hungarian Ethnographic Society as well as the Museum of Ethnography referred to the need to salvage endangered items of folk culture from vanishing. Folklore collections were interpreted as rescue missions aiming to save material in the penultimate moment. The author of this paper investigates the way in which an outstanding folklorist of the period, Lajos Katona (1862–1910), professor of comparative literary studies, defined the essence, purpose, and method of ethnographic/folklore collections. Katona urged on several occasions that collectors of folklore be equipped with professional guidebooks and other auxiliary materials. He played a role in the popularisation of the activities of the Folklore Fellows, furthering the establishment of a network of voluntary collectors. Empirical data collection in the field is a central notion of folklore studies, one of the most important methodological and epistemological categories of the discipline, which functions as a distinctive feature differentiating it from other fields of study. Therefore, it is of central importance to shed light upon how and why the principles of the collection and recording of folklore phenomena in oral culture have changed.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44588372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The village today is only partially what we used to know of in the past, our previous image rooted in a sinking world, nothing but memories. In the 21st century, even in rural communities, the daily routine, practices and strategies of economic life are determined by the processes of modernization and globalization, in conjunction with information and communication technologies along with the wide-ranging proliferation of digital devices. It can be said that life in the 21st century village also shows a simultaneous constraint of modernization (the constraint of evolution and change) and the presence of masses incapable of changing (even if their number is continuously decreasing). The coexistence and confrontation of these opposing forces and ideologies characterizes the Hungarian/Transylvanian rural space in Romania during the 21st century. All these have led to the degradation of previous community patterns, resulting in the faltering position of tradition as well as a major change in the role it plays in the life of said communities.
{"title":"Characteristics of the Transylvanian Countryside after Romania’s European Integration","authors":"Albert Zsolt Jakab, András Vajda","doi":"10.1556/022.2021.00029","DOIUrl":"https://doi.org/10.1556/022.2021.00029","url":null,"abstract":"\u0000 The village today is only partially what we used to know of in the past, our previous image rooted in a sinking world, nothing but memories. In the 21st century, even in rural communities, the daily routine, practices and strategies of economic life are determined by the processes of modernization and globalization, in conjunction with information and communication technologies along with the wide-ranging proliferation of digital devices. It can be said that life in the 21st century village also shows a simultaneous constraint of modernization (the constraint of evolution and change) and the presence of masses incapable of changing (even if their number is continuously decreasing). The coexistence and confrontation of these opposing forces and ideologies characterizes the Hungarian/Transylvanian rural space in Romania during the 21st century. All these have led to the degradation of previous community patterns, resulting in the faltering position of tradition as well as a major change in the role it plays in the life of said communities.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48897251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a result of globalization processes, the lives of average people are nowadays filled with uniform products. In Ukraine, contemporary clothing featuring national markers stands out from among the wide range of cultural and artistic trends. Ukrainian academics are currently studying the specific features of the diffusion of traditional clothing into everyday urban life. A knowledge of the historical path of the penetration, adaptation, and development of traditional Ukrainian clothing within the urban cultural system is necessary for an understanding of its modern transformation processes. An examination of the theoretical model of the diffusion and development of nationally marked clothing from 1861 to 2020 reveals that, in the context of urbanized culture, the spread of Ukrainian clothing is subject to five factors: social and economic, religious and ritual, identification (patriotic), cultural and artistic, and design and production. Within each subperiod, namely 1861–1920, 1921–1990, and 1991–2020, these factors have influenced clothing culture to varying extents, and their content is transformed in accordance with the historical circumstances. In addition to the publication of the above developments in scientific journals, considerable efforts to popularize them are also being made. Several thematic lectures have been given on the influence of the above-mentioned driving forces at different historical stages, accompanied by the multimedia presentation of prominent members of the Ukrainian intelligentsia posing in Ukrainian attire. The ZETA Atelier clothing manufacturing team produces collars embroidered with Ukrainian folk motifs, which became fashionable among Ukrainian intellectuals in the early 20th century. Collaboration based on the educational platform of the clothing brand Zerno has given rise to the idea of producing a line of stockinette T-shirts with prints of historical photographs of the Ukrainian cultural figures previously featured during lectures and presentations. The aim is to shape a contemporary urban culture of nationally marked clothing via the introduction of national images into consumer practices.
{"title":"An Academic Study of Clothing Ethnoculture and Modern Clothes Production: Interaction Practices in Ukraine","authors":"Maryna Oliynyk","doi":"10.1556/022.2021.00027","DOIUrl":"https://doi.org/10.1556/022.2021.00027","url":null,"abstract":"\u0000 As a result of globalization processes, the lives of average people are nowadays filled with uniform products. In Ukraine, contemporary clothing featuring national markers stands out from among the wide range of cultural and artistic trends. Ukrainian academics are currently studying the specific features of the diffusion of traditional clothing into everyday urban life. A knowledge of the historical path of the penetration, adaptation, and development of traditional Ukrainian clothing within the urban cultural system is necessary for an understanding of its modern transformation processes. An examination of the theoretical model of the diffusion and development of nationally marked clothing from 1861 to 2020 reveals that, in the context of urbanized culture, the spread of Ukrainian clothing is subject to five factors: social and economic, religious and ritual, identification (patriotic), cultural and artistic, and design and production. Within each subperiod, namely 1861–1920, 1921–1990, and 1991–2020, these factors have influenced clothing culture to varying extents, and their content is transformed in accordance with the historical circumstances. In addition to the publication of the above developments in scientific journals, considerable efforts to popularize them are also being made. Several thematic lectures have been given on the influence of the above-mentioned driving forces at different historical stages, accompanied by the multimedia presentation of prominent members of the Ukrainian intelligentsia posing in Ukrainian attire. The ZETA Atelier clothing manufacturing team produces collars embroidered with Ukrainian folk motifs, which became fashionable among Ukrainian intellectuals in the early 20th century. Collaboration based on the educational platform of the clothing brand Zerno has given rise to the idea of producing a line of stockinette T-shirts with prints of historical photographs of the Ukrainian cultural figures previously featured during lectures and presentations. The aim is to shape a contemporary urban culture of nationally marked clothing via the introduction of national images into consumer practices.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45278330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer — the utilization of basic ethnographic research in trainings and courses; and (b) digitization — ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges.
{"title":"The Folk Art Revival and Applied Ethnography in the Hungarian Heritage House","authors":"Ildikó Sándor","doi":"10.1556/022.2021.00030","DOIUrl":"https://doi.org/10.1556/022.2021.00030","url":null,"abstract":"\u0000 The present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer — the utilization of basic ethnographic research in trainings and courses; and (b) digitization — ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49141344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The UNESCO World Heritage Convention (1972) was originally focused on nature conservation and built heritage. The immaterial aspect of the worldwide heritage discourse arrived at a turning point in 2003, when the Convention for the Safeguarding of Intangible Cultural Heritage was adopted. The definition of the intangible cultural heritage provides essential frames for a wide range of interpretations. The UNESCO concept focuses on inclusive, representative and community-based traditions which are contemporary and living at the same time. In this sense, the intangible cultural heritage conception is based on the fundamental dichotomy of tradition and modernity. For the communities concerned, a new perspective for living traditions is the process from tradition to heritage. There are four essential features of this process: participation, consciousness, organization and valorization. They can make a difference between tradition and heritage. The Hungarian model for the implementation of the UNESCO Convention is based on a bottom-up system, where the heritage bearers themselves initiate the nomination process for the National Inventory. It is based on their strong commitment to their heritage and it relies on their involvement and participation. In this paper, three case studies from North-East Hungary (Borsod-Abaúj-Zemplén County) represent different ways of “creating a heritage.” The various patterns are closely related to the ideas of identity, community cohesion, tourism, local economy and the preservation of living traditions.
{"title":"New Perspectives for Living Traditions: Intangible Cultural Heritage in North-East Hungary","authors":"Arnold Tóth","doi":"10.1556/022.2021.00014","DOIUrl":"https://doi.org/10.1556/022.2021.00014","url":null,"abstract":"The UNESCO World Heritage Convention (1972) was originally focused on nature conservation and built heritage. The immaterial aspect of the worldwide heritage discourse arrived at a turning point in 2003, when the Convention for the Safeguarding of Intangible Cultural Heritage was adopted. The definition of the intangible cultural heritage provides essential frames for a wide range of interpretations. The UNESCO concept focuses on inclusive, representative and community-based traditions which are contemporary and living at the same time. In this sense, the intangible cultural heritage conception is based on the fundamental dichotomy of tradition and modernity. For the communities concerned, a new perspective for living traditions is the process from tradition to heritage. There are four essential features of this process: participation, consciousness, organization and valorization. They can make a difference between tradition and heritage. The Hungarian model for the implementation of the UNESCO Convention is based on a bottom-up system, where the heritage bearers themselves initiate the nomination process for the National Inventory. It is based on their strong commitment to their heritage and it relies on their involvement and participation. In this paper, three case studies from North-East Hungary (Borsod-Abaúj-Zemplén County) represent different ways of “creating a heritage.” The various patterns are closely related to the ideas of identity, community cohesion, tourism, local economy and the preservation of living traditions.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48837107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is based on the assumption that there was a well-articulated idea behind the rapidly spreading phenomenon of theft after the formation of collective farms in Transylvania during socialism: people thought that what they were doing was not wrong because the real culprit was the socialist state that deprived them of their control over their lands. Had that not happened, they would still be their own masters, existentially complete, and should the supremacy of this state cease one day, they would once again be who they were before. This idea vitalized their expectations and hopes as a sacred aura. After 1989, these hopes came true temporarily, and partially, but, as it turned out, the peasant order imagined as existential completeness did not return. After joining the EU, the generation that went through socialization owning and cultivating their own land and then lived awaiting and hoping as collectivist peasants had to realize that it was all wrong: the new system brought its own shortcomings, frustrations, and disappointments as their world lost its sacredness.
{"title":"Desacralisation. A New Turn in the Changed Relationship with Land in Rural Areas","authors":"J. Gagyi","doi":"10.1556/022.2021.00021","DOIUrl":"https://doi.org/10.1556/022.2021.00021","url":null,"abstract":"\u0000 This paper is based on the assumption that there was a well-articulated idea behind the rapidly spreading phenomenon of theft after the formation of collective farms in Transylvania during socialism: people thought that what they were doing was not wrong because the real culprit was the socialist state that deprived them of their control over their lands. Had that not happened, they would still be their own masters, existentially complete, and should the supremacy of this state cease one day, they would once again be who they were before. This idea vitalized their expectations and hopes as a sacred aura. After 1989, these hopes came true temporarily, and partially, but, as it turned out, the peasant order imagined as existential completeness did not return. After joining the EU, the generation that went through socialization owning and cultivating their own land and then lived awaiting and hoping as collectivist peasants had to realize that it was all wrong: the new system brought its own shortcomings, frustrations, and disappointments as their world lost its sacredness.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46885911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The contemporary musealization of Latvian design objects or the inclusion of high-quality examples in the Latvian National Museum Holdings began in 2005. Established three years later in 2008, the Latvian Design of the Year Award has since then attracted attention to this field, prompting further theoretical discourse. The publicly available narrative on 21st century Latvian design often points out the strong influence of local crafts and ethnic cultural heritage. An important impetus in contemporary, ethnically conscious design is the culture of the Song and Dance Celebration, within which the outfits of festival participants are created. This article identifies the application of traditional Latvian crafts in the works of Latvian artists and designers, visualizing the ideas and forms of ethnic identity. The analysis focuses on the general context of Latvian design: institutions supported by the Ministry of Culture, the Latvian Design of the Year Award and FOLD, the digital magazine of creative industries. Sources used include opinion articles and the public messages of companies. To facilitate theoretical understanding of the topic, it was important to take into account the theory of national identity and the museum narrative as well as the history of European design, especially at the turn of the 20th/21st centuries. It should be noted that the history of applied art and design in Latvia during the 20th century is still in the research stage. A historical insight into the construction of the Latvian traditional craft narrative, which began at the end of the 19th century, is also provided so as to promote greater comprehension of Latvian design. Essentially, it is a narrative of national identity, deliberately constructed through the craft practices, raw materials and compositional techniques characteristic of peasant culture.
拉脱维亚设计对象的当代博物馆化或将高质量的实例纳入拉脱维亚国家博物馆控股公司始于2005年。三年后的2008年，拉脱维亚年度设计奖（Latvian Design of the Year Award）成立，自此吸引了人们对该领域的关注，引发了进一步的理论讨论。关于21世纪拉脱维亚设计的公开叙述经常指出当地工艺和民族文化遗产的强烈影响。当代具有民族意识的设计的一个重要推动力是歌舞庆典文化，在这种文化中，节日参与者的服装被创造出来。本文确定了拉脱维亚传统工艺在拉脱维亚艺术家和设计师作品中的应用，可视化了民族认同的思想和形式。分析的重点是拉脱维亚设计的总体背景：文化部支持的机构、拉脱维亚年度设计奖和创意产业数字杂志FOLD。使用的来源包括评论文章和公司的公开信息。为了促进对这一主题的理论理解，重要的是要考虑到国家认同理论、博物馆叙事以及欧洲设计史，尤其是在20/21世纪之交。值得注意的是，20世纪拉脱维亚的应用艺术和设计史仍处于研究阶段。对始于19世纪末的拉脱维亚传统工艺叙事的构建也提供了历史见解，以促进对拉脱维亚设计的进一步理解。从本质上讲，它是一种民族认同的叙事，是通过农民文化特有的工艺实践、原材料和构图技术刻意构建的。
{"title":"Contemporary Latvian Design in Symbiosis with Local Handicraft Tradition","authors":"Inese Sirica","doi":"10.1556/022.2021.00019","DOIUrl":"https://doi.org/10.1556/022.2021.00019","url":null,"abstract":"\u0000 The contemporary musealization of Latvian design objects or the inclusion of high-quality examples in the Latvian National Museum Holdings began in 2005. Established three years later in 2008, the Latvian Design of the Year Award has since then attracted attention to this field, prompting further theoretical discourse. The publicly available narrative on 21st century Latvian design often points out the strong influence of local crafts and ethnic cultural heritage. An important impetus in contemporary, ethnically conscious design is the culture of the Song and Dance Celebration, within which the outfits of festival participants are created. This article identifies the application of traditional Latvian crafts in the works of Latvian artists and designers, visualizing the ideas and forms of ethnic identity. The analysis focuses on the general context of Latvian design: institutions supported by the Ministry of Culture, the Latvian Design of the Year Award and FOLD, the digital magazine of creative industries. Sources used include opinion articles and the public messages of companies. To facilitate theoretical understanding of the topic, it was important to take into account the theory of national identity and the museum narrative as well as the history of European design, especially at the turn of the 20th/21st centuries. It should be noted that the history of applied art and design in Latvia during the 20th century is still in the research stage. A historical insight into the construction of the Latvian traditional craft narrative, which began at the end of the 19th century, is also provided so as to promote greater comprehension of Latvian design. Essentially, it is a narrative of national identity, deliberately constructed through the craft practices, raw materials and compositional techniques characteristic of peasant culture.","PeriodicalId":34949,"journal":{"name":"Acta Ethnographica Hungarica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48788211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：