Studia Vernacula最新文献

{"title":"Soome-ugri rahvaste pärand Eesti Rahva Muuseumi kogudes / Finno-Ugric heritage in the Estonian National Museum","authors":"Piret Koosa, Svetlana Karm","doi":"10.12697/sv.2022.14.44-71","DOIUrl":"https://doi.org/10.12697/sv.2022.14.44-71","url":null,"abstract":"The focus of this article is the historical context of the Finno-Ugric collection in the Estonian National Museum (ENM) and how it is positioned in relation to source communities. \u0000Some of the central issues in the museological discussions inspired by postcolonialist perspectives have been the controversy of non-local heritage in museums and the relationship between museums and source communities. These discussions have not only been limited to the collections with explicitly colonial contexts but have also provoked questions of the power dynamic between institutions/collectors and source communities more widely. This has inspired us to look critically at the history of collecting Finno-Ugric objects and to ask about the collection’s meaning to contemporary Finno-Ugrians. \u0000The ENM’s Finno-Ugric collection is the largest non-Estonian museum collection in Estonia. As Estonians belong to the Finno-Ugric language family, the collecting tradition of non-Estonian Finno-Ugric objects has been motivated by the notion of Finno-Ugric kinship and framed within nationalist ideology. To a certain extent, Estonian ethnic consciousness has included other Finno-Ugric peoples as ‘our own’, the idea of being culturally related allowed Estonians to conceptually amplify their nation. The Finno-Ugric cultural heritage has thus been conceptualised as a common legacy of all kindred peoples. Although such a view puts an emphasis on the idea of belonging together, at the same time, a certain othering discourse is also discernible in the gaze of Estonian scholars/collectors. Some aspects of cultural heritage of other Finno-Ugrians’ that do not correspond to the historical experience of Estonians have typically been interpreted as only recent, inauthentic and inherently alien to the ancient Finno-Ugric core. ‘Authenticity’, characterised by the age and cultural ‘purity’ of a tradition or an object has been in the focus of Estonian ethnographers, while contemporary developments and signs of modernity have been prone to be interpreted as signalling cultural decline. However, as we know from the fieldwork diaries, local Finno-Ugrians have sometimes resented the ethnographers’ attention to the “old and unseemly”, interpreting this as showing them being backward. Nevertheless, although the ethnographers’ appetite for the outdated objects perplexed the locals at times, the collecting activities were generally viewed benevolently and also very pragmatically – selling old stuff that people no longer needed was seen as a good opportunity to earn some extra money. \u0000The main part of the Finno-Ugric collection was formed during the Soviet period when Estonia was in common geopolitical space with most of the other Finno-Ugric peoples. The central museums in Eastern Finno-Ugric regions also engaged in ethnographic collecting but limited their efforts to the cultural heritage of local people(s). The ENM differed in its holistic approach to the Finno-Ugric peoples, aiming to obtain a coll","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127251222","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}

{"title":"Kultuuriline omastamine kultuurimuutusena / Modeling cultural appropriation as a kind of cultural change","authors":"Jason Baird Jackson","doi":"10.12697/sv.2022.14.14-34","DOIUrl":"https://doi.org/10.12697/sv.2022.14.14-34","url":null,"abstract":"The current article is an abridged and adapted version of Jason B. Jackson’s 2021 article On Cultural Appropriation, published in Journal of Folklore Research 58 (1), translated into Estonian by Elo-Hanna Seljamaa with the author’s permission. This article starts from the premise that cultural appropriation is a key concern for folklorists and ethnologists, as well as for many of the communities with which they engage and partner, but that it is also one that has received relatively little attention of a general conceptual sort. This is true despite the ubiquity of cultural appropriation discussions in popular media, public culture, and informal scholarly conversation. Drawing on the work of these fields, an ideal-type conceptualisation of cultural appropriation is offered, one that situates it as one among a range of modes of cultural change. For cultural appropriation, the key neighbouring modes are diffusion, acculturation, and assimilation (as shown in figure 1). This heuristic emphasises the metacultural discourse that marks instances of cultural appropriation as well as the inequality often characterising the parties to such episodes. \u0000Keywords: cultural appropriation, ideal-type conceptualisation, inequality, cultural exchange","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"273-276 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130764774","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}

{"title":"Printed-pattern headscarves in Kihnu cultural space","authors":"Mari Pukk","doi":"10.12697/sv.2019.11.78-101","DOIUrl":"https://doi.org/10.12697/sv.2019.11.78-101","url":null,"abstract":"This article provides an overview of the unique tradition of wearing headscarves as practiced by the islanders of Kihnu. I discuss the importance of cotton print headscarves in the traditional clothing of Kihnu women and explain the meaning of kallisseltsi headscarves as an intra-community phenomenon, giving an overview of the origin and characteristics thereof. \u0000Printed cotton headscarves are considered an integral part of Kihnu traditional clothing, but as purchased goods they have, up to the present, remained beyond the scope of ethnographic studies. Headscarves are classified by material, origin and purpose. Even today, seven different types of headscarves are known ; names were assigned to the different types based on their patterns. \u0000Headscarves must always be worn in harmony with the main item of clothing: the skirt. The colours and stripes of the skirt convey the events that take place in the course of a woman’s life. Adherence to the rules is supervised by the elders of the community and by the more knowledgeable members who look after the preservation of the island’s traditions. As with wearing, there are also specific unwritten rules concerning the care, storage and folding of headscarves. \u0000In the Kihnu community, the most valuable cotton headscarves are those made of red printed cotton fabric that were produced in Russia, in the factories of Aleksandrov County in the Province of Vladimir in the late 19th century and the early 20th century. Elsewhere in the world, the headscarves are also known by their main colour – Turkish red. Owning kallisseltsi headscarves is, in a way, a status symbol in the Kihnu community: the owner of the largest number of headscarves is considered the proudest and richest. The circulation of headscarves is very carefully monitored, and the most valuable ones are only worn during important life events. \u0000Keywords: Kihnu cultural space, folk costumes, headscarves, communal clothing norms","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130249184","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}

{"title":"Knitting style – the grace of noble ladies or the speed of peasant girls?","authors":"Anu Pink","doi":"10.12697/sv.2019.11.64-77","DOIUrl":"https://doi.org/10.12697/sv.2019.11.64-77","url":null,"abstract":"Knitting is a textile technique with a global spread, yet the method of holding the yarn and needles differs between geographic areas and cultures. There are three main knitting styles: holding the yarn in the right hand or throwing, holding the yarn in the left hand or picking and knitting with the yarn in front of the work and manipulating it with the thumb. Knitting methods have been subject to change over time. People have tried to make the movements either faster or, as is the case with 19th century England, more graceful. Estonian knitters stayed true to throwing for centuries and were not waived by German, Russian or Scandinavian knitters. However, picking has become prevalent within the last century following the Finnish example and published materials. Studying the Estonians’ knitting style and comparing this to neighbouring countries provides an insight into the development of and influences on Estonian knitting. \u0000Keywords: knitting, knitting history, knitting styles, picking, throwing, Continental knitting, English knitting, Portuguese knitting, Estonian knitting","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125978278","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}

{"title":"Spiral tube decorations on garments: Restoring a lost technique","authors":"Riina Rammo, Jaana Ratas","doi":"10.12697/sv.2019.11.124-147","DOIUrl":"https://doi.org/10.12697/sv.2019.11.124-147","url":null,"abstract":"Spiral tubes made from coiled wire have been used as decorative elements on garments in Estonia for the last thousand years (from the 10th to 19th centuries). Decorations using this technique can be found in both archaeological and ethnographic collections. The tradition documented in Estonia is part of a larger phenomenon that spread across the eastern shores of the Baltic Sea (Finland, Northwestern Russia, Latvia, and Lithuania, in addition to Estonia) from the 6th century AD. Thus far, archaeologists have regarded spiral tube decorations mainly as a source for garment history, and not much attention has been paid to understanding their construction. This article focuses on the techniques used to make spiral tube decorations, from wiredrawing to constructing the ornaments. \u0000The results from metal analysis prove that the main raw materials used in wiredrawing have been copper alloys, with additives being mainly zinc and tin, and in lesser amounts, lead and other elements. Woollen and linen yarn and horsehair have been used as materials for constructing patterns. The woollen yarns used are usually fine and of high quality. Two main techniques used to make the ornaments can be observed: weaving the spiral tubes into a tablet-woven band and the use of various types of braided mesh and bands. When considering this very long period as a whole, it is possible to discern many regional differences both in techniques and pattern combinations. Behind the archaeological examples, makers of different skill levels and with different purposes can be seen, from professional craftsmen to women who made spiral tube decorations at home for personal use. \u0000Keywords: Spiral tube decorations, ancient craft, tabletwoven bands, archaeological textiles","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122639263","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}

{"title":"Traditional leather processing using domestic methods in Estonia","authors":"Made Uus","doi":"10.12697/sv.2019.11.164-179","DOIUrl":"https://doi.org/10.12697/sv.2019.11.164-179","url":null,"abstract":"This article provides an overview of the traditional domestic leather processing methods used in Estonia throughout history, as well as of the research papers on leather processing that have been published or have yet to be published in Estonian. There is also an overview of the main leather processing and tanning methods (vegetable tanning, alum tawing and flour tanning). Based on her own experience, the author gives a detailed description of traditional leather processing with a fermented flour mixture (flour tanning) as one of the oldest and most widespread methods of processing hides with fur. The article also gives an overview of the current situation of traditional leather processing using domestic methods in Estonia. \u0000Keywords: animal hide, tanning, leather dressing methods","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128483502","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}

{"title":"Hemp-lime – contemporary usage of traditional materials","authors":"M. Pau","doi":"10.12697/sv.2017.8.196-207","DOIUrl":"https://doi.org/10.12697/sv.2017.8.196-207","url":null,"abstract":"Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet the practical competence regarding its usage is lacking in Estonia as far as the construction industry is concerned. \u0000Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in a relatively low thermal conductivity, hemp-lime, the composite material made by mixing hemp with lime, is suitablefor insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around the hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness. \u0000The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface, when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations also protects the wooden construction elements surrounded by the hemp-lime, which thus also reduces the risk of moisture and frost damage. \u0000Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of the buildings being put up from 1st January, 2021, should not exceed the limit established for nearly zero-energy buildings. In short, this calls for a more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low. \u0000Keywords: industrial hemp, lime, clay, hemp-lime","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115365813","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}

{"title":"Rahvarõivas talupojakultuuri ühe ilmingu ning mõttemaailma kajastajana. Interpretatsioon Vändra kihelkonna näitel / National Costumes as one of the Manifestations and Reflections of the Frame of Mind of Peasant Culture: Interpretation Based on the Example of Vändra Parish","authors":"I. Raud","doi":"10.12697/sv.2016.7.147-160","DOIUrl":"https://doi.org/10.12697/sv.2016.7.147-160","url":null,"abstract":"The contemporary study, making and wearing of national costumes worn in 19th-century Estonian peasant culture requires both good knowledge of the objects and an awareness of the understandings, attitudes and world view related to peasant culture. This article sheds light on the values associated with the national costumes worn in the parish of Vändra. It concentrates on the rational way of thinking connected to national costumes and related aesthetic and moral beliefs. The term “rationality” here denotes, first and foremost, reasonable and purposeful behaviour arising from practical considerations. The study of meaningfulness sheds light on the background and objectives of the aesthetic choices underlying the design of national costumes, but also on the messages conveyed with the help of objects. In addition to literature concerning national costumes, the manuscripts found in the Estonian National Museum concerning the clothes worn in the parish of Vändra and neighbouring parishes and the observations made based on single objects are also used as sources.National costumes are used even today as a type of clothing that shows national belonging. 19th-century understandings and evaluations related to national costumes can today be studied indirectly. They manifest themselves in the way national costumes were made and worn and to a great extent were influenced by the environment in which the peasants lived.The obtaining of clothes meant a lot of work for peasants in the 19th century, starting with the growing and processing of the material and ending with the making and finishing of the clothes. Popular materials were easily accessible and could be processed at home, although they required a lot of work. As the obtaining of linen and woollen yarn and the weaving of cloth were labour-intensive processes, patterns for the sewing of clothes had to be as practical as possible. Great attention was paid to increasing the durability of clothes and to the easiest possible maintenance thereof. In the choice of material and the finishing of clothing, the climate, the ease of use and the context of use were taken into consideration. Both textiles and leather were used to the maximum. Woollen cloth was considered a more valuable material than linen textile, and this could be explained by the latter wearing out sooner.Besides practical aspects, the aesthetic result was also considered important – in addition to aspiring for beauty, many items of clothing represented the wearer’s social status, and people believed in the protective power of clothing. When wearing national costumes, one had to take into account the system of communal values. Unfortunately, very little material has been recorded about these understandings, and the field is difficult to access for researchers studying individual objects.National costumes reflect the way of life and beliefs of the people of the 19th century. In the study of national costumes – where alongside material sources little i","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131788286","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}

{"title":"Palkehitus: uurimise, taastamise ja arenguloo selgitamise vajadused Eestis ja maailmas / Relevance of Log Crib Research, Renovation and Development in Estonia and the World","authors":"D. C. Reed","doi":"10.12697/sv.2016.7.180-210","DOIUrl":"https://doi.org/10.12697/sv.2016.7.180-210","url":null,"abstract":"In 1972, I was apprenticed to an elderly mountain man steeped in the traditions of log crib construction. Cyrus Paul Lewis taught me the skills of 18th and 19th century rough and finish carpentry as it pertained to folk architecture. The craft training of log construction added on top of several years experience as a modern day carpenter enabled me to build a company that restored houses and other log buildings all over the United States from 1974 to 2006. In 1978 I continued my formal education in anthropology and preservation specializing in log structures at George Washington University in Washington, D.C. Having read all the authoritative works on log buildings and compared them to what I was learning in the field, it was obvious there were many gaps in the collective body of knowledge concerning the development and dissemination of log crib structures.During a brief first trip to Europe, it was easy to see that the log crib buildings in Alpine and northern Europe in no way resembled the American log cribs erected for three centuries by the settlers arriving on the American shores and those pushing west to establish their farms and build their houses. It became clear American scholarship had a long way to go in understanding the log crib, its development, technology and dissemination throughout the world much less in America. In 2009 a quest to fill in some of the gaps was begun.After four years of intense research with field trips to Turkey, southern Europe and ranging all the way north to the Scandinavian and Baltic countries ringing the Baltic Sea two findings became very clear. First, no one person can possibly conduct the massive research needed to fully understand origins, technology and dissemination of the world's log cribs. Secondly, it was apparent, contrary to what had been declared in former publications, that Europeans did not transfer their log crib technologies intact to the eastern shores of the US. Rather only a small number of scattered details mixed with a few processes of material manufacturing and building commonly used in Europe were configured into what was to become an American log crib style almost from the first settlements.These discoveries bore witness to the fallacy of single or two person research efforts that resulted in broad, sweeping declarations of origins and disseminations concerning log crib technologies. Most authors were not familiar with the professional training needed to fully understand the hands-on traditions of building with logs and have largely missed the facts concerning the developmental history of log buildings in a specific country and the world. Far more collaborative research between the multiple disciplines and experienced master craftsmen is needed.Even in Estonia further studies are needed to determine how the dual-purpose barn-dwelling developed and where it originated. With seven centuries of multiple foreign occupations responsible for bringing in many different types of technologies","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"185 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116144761","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}

{"title":"Ühe peniku taasloomise lugu / Recreating a Penik (a Form of Head Decoration)","authors":"Maaja Kalle","doi":"10.12697/sv.2015.6.145-153","DOIUrl":"https://doi.org/10.12697/sv.2015.6.145-153","url":null,"abstract":"A penik decorated with woven trim (galloons), known as 'kard-penik', has been worn in Hiiumaa as part of folk costumes. The examples in the collections of Estonian National Museum have been dated to the 1st quarter of the 19th century. In earlier times all girls wore a penik while attending church. In later times, it was used as a headpiece by the brides in Hiiu county, and also by bridesmaids in Emmaste and Käina. By the end of the 19th century, the tradition of wearing peniks started to disappear due to the growing popularity of Myrtus head chains. The author of this article has focused mainly on the materials and the possible techniques used to make peniks in order to recreate the item and to describe the process.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127034322","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}