Eesti Rahva Muuseumi aastaraamat最新文献

{"title":"Filmid Eesti Rahva Muuseumi püsinäitusel „Kohtumised“","authors":"Karin Leivategija","doi":"10.33302/ermar-2019-004","DOIUrl":"https://doi.org/10.33302/ermar-2019-004","url":null,"abstract":"The world’s first film specifically produced for an exhibition was displayed in the American Museum of Natural History back in 1930. In the 1960s the Estonian National Museum also began to collect actively ethnographic film material during fieldwork, but its use in exhibitions was marginal. The films at the museum’s new permanent exhibition, ’Encounters’, however, contribute significantly to the visual and content identity of the display and invite visitors to engage in a social and cultural dialogue. Along with the showcases, the films create a visual rhythm in the display hall, and their visuals and sound accompany visitors throughout the entire exhibition. By virtue of presenting diverse perspectives and their integration with the surrounding display, the films can visibly and audibly join in the discussions that ’Encounters’ seeks to elicit.\u0000The films of ’Encounters’ focus on the past and present inhabitants of the territory of Estonia, primarily, who have their subjective views and particular life experience and through whom an exhibition visitor can gain an insight into the broader cultural and social context.\u0000If in the past, museum films and display items were strictly curated, with the power to create and distribute knowledge concentrated in the hands of curators-filmmakers, then at present the role of museum visitors examining the material has increasingly become more active. Without a recourse to the voice-over or music, which prescribe to the visitors how they should perceive and construe the content, visitors can experience and decipher the films independently. Without the curator’s direct didactical intervention, visitors are free to assign a personal meaning to the themes presented. The films of ’Encounters’, which are unconventionally slow and long-lasting for contemporary people, offer a challenge and opportunity for thoughtful reflection.\u0000My own video exhibit ’Stories of Freedom’, which presents the thoughts of nearly 80 inhabitants of Estonia on the subject of freedom in the form of videotaped interviews and written citations, explores meanings and ideas that are abstract and nonmaterial but universally inherent to human beings. The documentaries of Marko Raat take a detailed look at various processes and work techniques from traditional as well as modern life. His films deal with some cultural practices that are still in use but inevitably vanishing as well as some contemporary practices such as a day at a supermarket checkout belt, or activities in the kitchens of top chefs.\u0000Raat’s scripted portrait films summon up the lives of people from the past. By his use of aesthetically eclectic and stylised form instead of maximally accurate reconstruction, the filmmaker deliberately minimises the possibility of the films being seen as accurate representations of history. Although the films are not historically faithful depictions in terms of their aesthetics, Raat has used archival documents and authentic museum objects as the films’ ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130175698","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":"Muuseumid ja nende mõju praktilises muuseumitöös","authors":"Pille Runnel, Agnes Aljas","doi":"10.33302/ermar-2019-008","DOIUrl":"https://doi.org/10.33302/ermar-2019-008","url":null,"abstract":"Introduction","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"310 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127481621","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":"Kunstiga kiusamise vastu. Kiusuennetustunni eesmärk ja ülesehitus Kadrioru kunstimuuseumi ja Tartu Kunstimuuseumi näitel","authors":"Hanna-Liis Kont","doi":"10.33302/ermar-2019-003","DOIUrl":"https://doi.org/10.33302/ermar-2019-003","url":null,"abstract":"With the shift of focus on the part of museums towards a fuller consideration of the audience’s needs, a number of museums around the world have begun to contribute more actively and consciously to people’s welfare, including their physical and mental health and the inclusion of more vulnerable and marginalised social groups. Several museums in Estonia have joined in these efforts over the past few years. A specific example of such a museum innovation is the work that has been done with bullying prevention. To date, studies have shown that one in five children attending a school in Estonia is a victim of bullying and that bullying can cause anxiety and depression, or in other words, it can significantly affect one’s mental health. Although there are several organisations in Estonia dealing with this problem, more active co-operation with museums started only in 2018 when Kadriorg Art Museum and Tartu Art Museum, independently of one another, contacted the Foundation for the Bullying-Free School with the request to develop anti-bullying educational programmes for schools of general education. As a result of the co-operation, two versions of the museum lesson, ’Using art to combat bullying’, were prepared for both museums.\u0000The article addresses the questions of why the above art museums decided to undertake their bullying prevention initiative and how this concern and art mediation are combined in the structure of educational programmes and to some extent, in that of the exhibitions. There are several reasons for undertaking anti-bullying initiatives in art museums from the perspective of both schools and museums as well as the Foundation for the Bullying-Free School. As school children have become an important target group, museums have sought to adapt their programmes, as effectively as possible, to the needs of schools. Considering that schools likewise have become more proactive and systematic in their approach to bullying, museums have seen this as an opportunity to offer alternative anti-bullying lessons outside the classroom routine. The development of such a lesson has provided an opportunity to simultaneously offer schools a museum lesson which would combine two critical themes—bullying prevention and art mediation—as well as train instructors in how to intervene expertly in bullying situations and apply current theoretical approaches. An added bonus for the foundation is that the museum lesson enables them to introduce the Bullying-free School programme to the schools that have not yet joined it and offer further knowledge consolidation activities to the schools that have already enrolled in the programme. However, it is still a young initiative that needs further development in order to find more sustainable collaboration formats which would have a more long-term influence on school children than a single museum visit. It is likewise important that the museums should seek to tie bullying prevention more strongly to their broader strategi","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115325106","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":"Kuidas mõtestavad ekspositsiooni koostajad auditooriumide kaasamist? Kujuteldavad auditooriumid ja kaasamisviisid Tartu Ülikooli loodusmuuseumi uue püsiekspositsiooni loomisel","authors":"Krista Lepik, Reet Mägi, Pille Pruulmann-Vengerfeldt","doi":"10.33302/ermar-2019-002","DOIUrl":"https://doi.org/10.33302/ermar-2019-002","url":null,"abstract":"The article aims to enhance the understanding of audience engagement and ways of its shaping in relation to permanent expositions by using the example of Tartu University Natural History Museum. We focus on the role of exhibition curators as content creators in the shaping of audience engagement. The study is informed by constructivist grounded theory and draws upon eleven semi-structured interviews with the curators of the new permanent exhibition of Tartu University Natural History Museum. In order to understand better the curators’ perspectives our analysis relies on the concept of imagined audiences and seeks to answer questions about what kind of engagement modes can be identified from the curators’ comments and what processes the latter were influenced by.\u0000The theme of museum audiences and engagement modes should already be familiar to the reader from previous Yearbooks of the Estonian National Museum (Runnel ja Pruulmann-Vengerfeldt 2012; Runnel, Lepik, Pruulmann-Vengerfeldt 2014; Lotina 2014; Rattus 2016). Earlier discussions, however, placed more emphasis to the existence of audiences and engagement modes, and were less concerned with how curatorial considerations can impact the formation of audience engagement and how this formative process may be directed. Furthermore, the earlier in-depth identification of engagement modes and examination of the interrelationships between their various aspects was underpinned by a holistic view on museum activities (Lotina 2016), while the present treatment focuses on the specific context of museum expositions. The concept of imagined audiences (Litt 2012) draws on the study of social media, but for this article we have applied its principles to a museum exposition, which is a far more static communicative environment.\u0000The study answered the questions about the kind of audiences the curators who put together the permanent exhibition of Tartu University Museum of Natural History were envisioning and what factors influenced the construction of audiences as well as what engagement modes were designed for the exposition. Individuals and institutions were distinguished among the audiences, both of which were in turn comprised of more detailed groups. Building on Gidden’s theory of structuration (1984) and Litt’s notion of an imagined audience (Litt 2012) the factors influencing the curators were grouped as either structural or agential. The following modes of engagement with the permanent display emerged: teaching, attracting interest, co-operation and provisions for stakeholders. Teaching was closely interlinked with the main objective of renewing the permanent display: the intent is to create a learning environment for non-formal environmental education, and in this respect it resembled the informing mode of audience engagement identified by Lotina (2016). Attracting interest was a mode of engagement which bore similarities to the marketing engagement mode previously described by Lotina (2016). Co-operat","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124466864","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":"Soome-ugri misjon: Eesti kristlaste hõimutöö Venemaal","authors":"Laur Vallikivi","doi":"10.33302/ERMAR-2018-007","DOIUrl":"https://doi.org/10.33302/ERMAR-2018-007","url":null,"abstract":"Faith-Based Finno-Ugric Outreach: Estonian Christian Missionaries among Kindred Peoples in Russia\u0000\u0000This article provides an initial overview of the role of Christianity in the Finno-Ugric movement and the instrumentalisation of Finno-Ugric identity. It analyses the mission activity conducted by Estonians (and Finns to some extent) among speakers of Finno-Ugric (Uralic) languages in Russia. Above all, the writings of missionaries are used as the source – primarily mission publications published in Estonia. The background is the author’s fieldwork conducted among Nenets reindeer herders, who have been influenced by Russian and Ukrainian Protestant missionaries, and the Udmurt people living on the far side of the Kama, the latter being untouched by mission work. In both communities, religion and language inherited from forebears have a noteworthy role, even though the younger generation is becoming equally bilingual (the Russian language often dominates) and fewer and fewer young people take part in the non-Christian rituals passed down by their ancestors. \u0000The first half of the article gives an overview of how the church’s outreach directed at peoples who speak Finno-Ugric languages (hõimumisjon and hõimutöö are Estonian terms used) developed and the ideology behind it. The second half focuses on the activities of Estonian and Finnish missionaries in Russia. The author looks at the reception that the Erzya and Moksha Mordvins, Mari, Udmurts and Zyrian Komis have given the missionaries and also examines Protestant relations with the Russian Orthodox Church and representatives of local native religions.\u0000Whereas the collapse of the Soviet Union saw extensive missionary activity in Russia, Protestants from Estonia and Finland (mainly Lutherans, Methodists, Baptists and Pentecostals) set out to actively spread the gospel among Finno-Ugric peoples living in Russia. As Estonians and Finns are often accepted as ‘kin’, missionaries see this as a ‘niche provided by God’, which should be utilised. The goal for the missionaries is to create a Christian community where the kindred brothers and sisters become religious brethren. In spite of accusations to the contrary, they consider their endeavour something that will save Finno-Ugric cultures and languages, proceeding from the attempt to bring eastern ‘kindred peoples’ closer to the Protestant world and the world of the Estonians and Finns and the possibility of redemption.\u0000Protestant Estonian and Finnish missionaries portray themselves as preservers of the local languages. In practice, however, their activities are quite conflicting. On one hand, the need to make religious texts available in native languages is stressed, and they participate in organising translation of Christian texts and promote the local mission in the indigenous languages. On the other hand, the primary language used for outreach is not the local language but Russian, as Russian proficiency is predominant among Finno-Ugrians (although not ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129465117","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":"Etnoloogilised välitööd religioosses kontekstis Komimaa kristlaste näitel","authors":"Piret Koosa","doi":"10.33302/ermar-2018-006","DOIUrl":"https://doi.org/10.33302/ermar-2018-006","url":null,"abstract":"Ethnological Fieldwork in the Context of a Religious Community, Based on the Example of Christians in the Komi Region\u0000\u0000The article is based on fieldwork conducted in the Kulymdin district of the Komi Republic in the years 2008–2015. In the article, I reflexively discuss my own position as a non-religious researcher conducting fieldwork among evangelical Christians. The salience of the issues I deal with is not limited to work with religious communities, and probably also comes up in conducting various ethnological research. Yet dealing with the religious sphere has its own special characteristics that see the research confronted with certain questions not only from the subjects, but also from colleagues. \u0000On one hand, the article deals with my thoughts, experiences and feelings in studying religious people as a non-believer. I also look at the reactions of the believers toward myself, and analyse how my position as a researcher has affected our interactions. I bring out various ideological points of departure and contextual circumstances that form the backdrop to our communication and have shaped our dialogue. In addition to our various personal experiences and attitudes, the specific sociocultural environment in which our interaction took place has also had a role. I also reflect on various motivations that may have led people to take part in interaction and I deal with the difficulties involved in elucidating my own objectives. \u0000As an ethnologist, I have a specific goal when I conduct fieldwork, and later, in presenting the gathered material as a scholar, I take a certain authoritative position. At the same time, the subjects in our mutual interaction also have their own reasons and objectives. The subjects’ opinion of what the result of our interaction should be may be significantly different from mine. The ideal in research and presentation of material gathered in fieldwork is generally considered to be an empathetic yet impartial approach, in spite of the fact that difficulties and limitations are acknowledged in achieving an ‘objective’ view. At the same time, a neutral or impartial approach to religious matters is not acceptable for evangelical Christians. As a researcher, I see Christianity as one possible mode of existence in the world and framework for making sense of that world, yet believers would see such a standpoint as mistaken. The fact that I have not converted and have no conscious desire to do so puts limits on our dialogue. Our interactions are thus not functional for believers in what for them is the most important aspect. Yet I have not voiced scepticism in the evangelical world view, either. Although the believers have doubt in my ability as a non-believer to genuinely understand their experiences, there are a number of reasons that they might see a point in communicating with me. Analysing the motivation and strategies of the believers in the communication between us, I identify three angles of approach: the attempt to for","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120958135","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":"Mälestamisrituaal tšekan nüüdisaegse udmurdi küla etnokultuurilisel maastikul","authors":"Nikolai Anisimov","doi":"10.33302/ERMAR-2018-005","DOIUrl":"https://doi.org/10.33302/ERMAR-2018-005","url":null,"abstract":"The Chekan Commemoration Ritual in the Cultural Landscape of the Contemporary Udmurt Village\u0000\u0000In investigating the chekan ritual of commemorative sacrifice carried out in Kalašur and Dubrovski Villages in the Kiyassovo region of the Udmurt areas, it emerged that certain changes had taken place at various levels. The term chekan has become demythologised in the Udmurt language, but scholars believe that its roots go back to Turkic languages, and that as a cultural sign it means ‘offering sacrifice/sacrificing’ and is related to the cult of the dead. Commemorative practices that bear some likeness and similarity have been seen in the traditions of local groups among the Udmurt peoples, as well as among other Finno-Ugric peoples (the Zyrian and Perm Komis, and the Maris) and neighbouring peoples (Russians and Chuvass). Yet chekan is a unique ritual with specific attributes: it takes place only in June of leap years and is dedicated to those who died abroad, loved ones buried elsewhere and people who committed suicide. Through the commemoration, the Udmurts in this group devote attention to their ‘special’ category of deceased, the belief being that otherwise they may become demonic spirits. Research trips spanning sevaral years (2008, 2012 and 2016) have shown that the traditional structure and rules governing the ministrations have changed. For example, the sacrificial animals are not bled on the eve of the ritual, but on the day of the ritual itself. The ritual food is no longer cooked all night long but from morning to mid-day, and the ceremony no longer is presided over by a priest. Both linguists and the author have observed that fewer and fewer people take part in the ritual and people living in more distant parts no longer make the trip, which makes the older generation concerned. It is presumed that the ritual was previously held every three years, as in the case of similar customs mentioned in scholarly literature (Chekaskon Chokskon) and only later was it scheduled to coincide with leap year, referring to the symbolic semantics of the year with the extra day. The biggest changes concern the site of chekan. In 2008 and 2012, the ritual and the rites for the departed souls were relocated, without any procedures related to the change of venue, but solely based on consensus reached by local inhabitants. The main reason cited for the change of venue is that the original place had become overgrown by brush, and it was difficult to reach the original sacral ‘centre’ and the spruce tree where the offerings were laid. The rituals carried out in 2008, 2012 and 2016 also pertained to another shrine on the village’s ethnocultural landscape, the sacral place where once the worship was held in honour of the god Aktash. This led a number of older inhabitants to enquire into the feasibility of the whole development. The given shrine took on a double sacral quality as fieldwork showed that among young people, knowledge of this place, which became inactive ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132258865","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":"Mari usukombed läbi kaamerasilma: Tiia Peedumäe välitööd Mari Vabariigis aastatel 1991–1992","authors":"Tatiana Alybina","doi":"10.33302/ermar-2018-003","DOIUrl":"https://doi.org/10.33302/ermar-2018-003","url":null,"abstract":"The religious traditions of the Mari people viewed through the camera lens: Field work conducted by Tiia Peedumäe in the Mari El Republic in 1991–1992 \u0000\u0000The Estonian National Museum began acquiring photographic materials back in the early 20th century when pioneering Estonian photographer Johannes Pääsuke travelled around Estonia with a homemade camera documenting the way people lived. In the 1960s, ethnographic films became one of the main areas of the museum’s activity and the geography of fieldwork also expanded significantly. Efforts were made to commit to film the traditional culture of Estonians and other Finno-Ugric peoples. In the 1990s, modernity shifted into the focus, supplanting the older and fading culture. Technological advances, and above all the introduction of the video camera significantly changed the methodology used to acquire material. The new cameras were lighter and more mobile, with a larger recording capacity and this allowed much more material to be documented.\u0000The article analyses filming during field work aimed at investigating and documenting religious rituals – in particular, footage produced by Tiia Peedumäe and her collaborator, the camera operator Jaan Treial, in 1991 and 1992. The fieldwork diaries and video footage are used to trace how the researchers adapted to the community they were studying, and looks at the role of intermediaries in this process. \u0000Tiia Peedumäe’s expeditions coincided with a time of great changes in ethnography and ethnology. Peedumäe represents a generation of researchers who learned how to conduct fieldwork in the spirit of Soviet-era ethnography and later expanded their methodology as the research focus changed. \u0000During the autumn 1991 expedition, Peedumäe and Treial recorded the Maris’ first nationwide sacrificial feast in the village of Olori (Paranga Raion). They returned to the same village in June 1992, this time to study the spring sacrificial feast Aga-Pairem and a feast of remembrance of the dead, Semyk.\u0000The improved recording made some aspects easier for ethnologists although the work still required the ability to interact with the community. It is particularly important that there is trust between the people perpetuating a tradition and the cultural researchers. On the first occasion that Peedumäe and her colleagues went to record a worship ceremony with a video camera, they had difficulties getting consent from the villagers. The previous understanding reached with Mari activists living in Yoshkar-Ola – who were prepared to assist in the filming – was seen as inadequate in the sacrificial grove. Everything depended on the village elders who led the prayer service. Thanks to Peedumäe explaining how important scientific study was and the authority of the leaders of the Maris’ religious reawakening movement, ultimately permission was obtained for photographing and filming, although the researchers still were not given access to some phases of the ritual. \u0000A second expedition to ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123825884","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":"Kaama-taguste udmurtide sügispalvus: rituaali etnograafiline kirjeldus välitööde põhjal","authors":"Eva Toulouze","doi":"10.33302/ermar-2018-004","DOIUrl":"https://doi.org/10.33302/ermar-2018-004","url":null,"abstract":"Eastern Udmurt autumn rituals: An ethnographic description based on fieldwork \u0000\u0000There is a good amount of literature about Eastern Udmurt religious practice, particularly under its collective form of village rituals, as the Eastern Udmurt have retained much of their ethnic religion: their ancestors left their villages in the core Udmurt territory, now Udmurtia, as they wanted to go on living according to their customs, threatened by forceful Evangelisation. While many spectacular features such as the village ceremonies have drawn scholarly attention since the 19th century, the Eastern Udmurt religious practice encompasses also more modest rituals at the family level, as for example commemorations of the dead, Spring and Autumn ceremonies. Literature about the latter is quite reduced, as is it merely mentioned both in older and more recent works. This article is based on the author's fieldwork in 2017 and presents the ceremonies in three different families living in different villages of the Tatyshly district of Bashkortostan. It allows us to compare them and to understand the core of the ritual: it is implemented in the family circle, with the participation of a close range of kin, and encompasses both porridge eating and praying. It can at least give an idea of the living practice of this ritual in today's Eastern Udmurt villages. This depends widely on the age of the main organisers, on their occupations: older retired people will organise more traditional rituals than younger, employed Udmurts. Further research will ascertain how much of this tradition is still alive in other districts and in other places.","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125118724","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":"Uurali kaja Eesti Rahva Muuseumis","authors":"Svetlana Karm, Art Leete","doi":"10.33302/ERMAR-2018-001","DOIUrl":"https://doi.org/10.33302/ERMAR-2018-001","url":null,"abstract":"The Echo of the Urals exhibition at the Estonian National Museum\u0000\u0000Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design committees regarding their work.\u0000Many previous Finno-Ugric permanent exhibitions at the Estonian National Museum had focused on presenting folk art, and this aspiration was reflected even in the titles of the exhibitions. Moreover, the Finno-Ugric scholars at the National Museum also tried to use the exhibitions to gain an overview of the existing materials at the museum concerning a specific ethnic group. Such exhibitions also focused on the Finno-Ugric people and so as representative a set of artefacts as possible was placed on display, systematised in the spirit of scientific objectivity. From the second half of the 1990s on, the museum’s researchers started producing exhibitions on more experimental themes as well, testing the suitability of various ideas for an ethnographic exhibit. Some ideas are exciting on paper while artefacts can fail to express more abstract qualities. Our permanent exhibition was based on the historical legacy, and we tried to find a simple, relevant starting idea for the exhibition that made full use of the museum’s collections. After discussions, we chose Echo of the Urals as the title of the exhibition. In doing so, we tried to refer in a lyrical vein to the idea of an original home for the Finno-Ugrians and allow different peoples to be introduced in a single framework. The idea of linguistic kinship may be easy to understand for scholars and many Finno-Ugrians, but we also thought about visitors who did not know anything about the topic. We devoted the main part of the exhibit to the ethnographic representation of gender roles, trying to get viewers to think about everyday gender roles and cultural differences. We hoped that presenting the cultural roles of males and females would be a simple starting idea that would also be of interest to many. The exhibition design had to be state-of-the-art, a finely tuned machine, at the same time creating emotionally gripping, seemingly semi-natural ethnographic attractions.\u0000As a result of our research, we found that although we tried to create an emotionally captivating and conceptually balanced exhibition, we were criticised in the critical reception for allegedly haphazard choices (the gender theme was criticised) and having a romantic aim to find beauty (to the detriment of reflecting the situation faced by indigenous cultures today). Our analysis of the making of our ethnographic exh","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127743036","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}