Culture in the EU (8): EstoniaPosted: June 21, 2016
[Because of other commitments, it has not been possible to post more in this series for a little while, but I am endeavouring to complete as many as possible before the referendum on Thursday. For now, I will mostly give links and text without so much commentary, which may follow later]
As a solid supporter of the Remain campaign, in the 18 days from June 5th until the European Union Referendum on June 23rd, I am posting a selection of links and other information about music, literature, film, visual art, dance, architecture, etc., from each of the EU nations.
I make no claims to be comprehensive in any case, and my choices undoubtedly will reflect my own aesthetic interests – but I believe that may be more interesting than a rather anonymous selection of simply the most prominent artists or art. All work comes from the post-1945 era, the period during which the EU has come to fruition, but may (and often will) include work which dates from before the nations in question joined the EU. As I am writing in English, where translations exist I will use these. Time does not allow for detailed commentaries, I just throw these selections out there in the hope others will be interested in the extraordinary range of culture which has emerged from citizens of the EU.
[With profound thanks to Helen Harjak for various suggestions of Estonian culture to investigate]
A major figure in the post-war Estonian literary scene was the writer and poet Bernard Kangro (1910-1994), who founded the cultural journal Tulimuld, which ran from 1950 to 1993. A selection of his quasi-surrealist poems is available in English translation, called Earthbound.
Here is Kangro’s poem, ‘Late Flowers, Wind, Sea, Sand and Fish’, translated Ivar Ivask.
at edge of bay.
Don’t blame the breeze!
The sea’s there
upon the sand.
and skip away.
Another poem can be read here.
Another surrealist Estonian writer was the poet and sound poet Ilmar Laaban (1921-2000), who lived in Sweden from 1944. Here is Laaban’s poem ‘Silence and Violence’, as translated by Richard Adang and Andres Ehin
Silence and Violence
Long ago on a windy hunt
a horrible happiness abruptly bloomed in me
and the landscape congealed only its pungent
blood rustling through my veins the gun smoked
incessantly the hound did not bark
as it gazed at the clouds tightening
into meat and skinning over with fur
streaming tangled by despair
Because on the horizon a stout tower appeared
which swayed slowly between emptiness
and the overflowing clamor of hideous joy
like a gigantic latrine
the sweaty sun mottled Earth and Welkin
until suddenly it was eclipsed by cold
ravens of freedom who carried my eyes
and fresh images like flags in their bills
At twilight which was only flashes
as the sea is but the triumph of the drowned
my hunting jacket was freed of its heavy
web of lust I simply ran forward
along the mute moor coming across
animals with shining coals for hearts
I shot them so many that the road home
was finally choked with grass
Long ago I seized the empty beaker
and faced its inflexible challenge
and ever since this endless draught rinses –
my gun-barrel mouth which sparkles
in the starry sky and when it sees
some too-warm nebula defiling cosmic night
it proclaims ponderously and clearly
I DENY DEATH BUT AFFIRM ICE
Here is Laaban’s sound-text composition Ciel Inamputable (1969)
Amongst the most renowned Estonian writers of the post-war era are Jann Kaplinski (b. 1941), who drew widely upon mythology and Asian thought, and Jaan Kross (1920-2007), who spent an eight-year period as a prisoner in Soviet labour camps. Here is an obituary of Kross in The Guardian. Kross’s novels often had historical settings, but served as allegories of the contemporary situation under Soviet communism. His four volume sequence of novels Kolme katku vahel/Between Three Plagues (1970-1976) told the story of the sixteenth-century chronicler Balthasar Russow, who wrote the chronicle of the Livovian War, detailing his experience of the effects upon the peasantry from which he came.
A sparse form of poetry, reflecting post-1968 disillusionment and disenchantment, can be found in the work of Paul-Eerik Rummo (b. 1942), who also went on to become an Estonian politician. A selection of his poems can be read in translation here; here is one, ‘Crooning’.
I am so fleeting
sighed the girl to the sea
oh, what can I do
you are eternal
I am transparent like you
sighed the girl to the window
oh, what can I do
my heart’s in full view
I open like you
sighed the girl to the door
oh, what can I do
the sun steps in
I am so small
sighed the girl to the sun
oh, what can I do
you are so large
I am so foolish
sighed the girl to the wise man
oh, what can I do
everyone is so wise
More on Rummo can be read here.
Poet and author Tõnu Õnnepalu (b. 1962), who has also published under the names Emil Tode and Anton Nigov. His novel Piiririik/Border State (1993), a short novel about the overwhelming and sometimes destructive effect of Western culture upon a Baltic citizen, comes highly recommended; more can be read about it here.
Also, do check out the poet, short story writer and librettist Maarja Kangro (b. 1973). Here is her poem ‘The Butterfly of No Return’, as translated by Ilmar Lehtpere. A further selection of poems, with various translations, can be read here.
THE BUTTERFLY OF NO RETURN
‘again’ is a big word.
slowly and quickly
again men rejoice on the radio
that they are on the right road
and talk of the cyclical nature of time
a proper road goes in circles, even I
recognize young skin on the beach and
”et si tu n’existais pas,” is sung loudly
men on the radio speak of the connection
of everything to everything else: ringingly
one says butterfly effect – I lift my wings
a good sleep gives you cyclical time
for after such a sleep you think you’re revived
I flutter my wing
the good men on the radio start coughing
I flap my wings more amply and a wind comes up
the men cough wheezing, the airwaves revolt
ships sink and swimmers drown, the final sleep
comes stormy and grey
let’s think of a word that never was before
was just now
and now isn’t anymore
There’s a whining and ringing in the air.
You talk of a lout.
I’m the very one. Through me you’ll never
reach the deeper levels or the heights,
the flash of pure being that you believe
you see in the village drunkard
or the poet gone mad.
When he drinks, secrets come to light.
When I get legless, I attack.
Or I drift off, stinking. My gaze is dark.
I give off my exhaust in your face.
I want lovely meat that won‘t shame me. I’m afraid of losing.
Words anger me. I bellow.
I watch the telly, don’t read, can’t write properly.
Rubbish is left behind me.
I am rubbish. I’m the one you’re talking about.
– Ah no, what are you going on about, it’s me.
– Ah no, it’s me.
– No, I’m the one.
– No, I am. Forgive me.
The whole road is full of us, and our fragile souls
are ringing. Listen, how quietly, dear girls and boys.
One of the first major groups of Estonian artists to look beyond Soviet orthodoxy was ANK-64, who were responsible for resurrecting cubist and constructivist work from earlier in the century. One of the leading figures in this movement was Jüri Arrak (b. 1936), whose work employs cartoon-like imagery and surrealist ideas; other important artists who were involved with this movement include Kristiina Kaasik (b. 1943) and Marju Musu (1941-1980)
Jüri Arrak, Lennuk 6/20 (1972)
Kristiina Kaasik, Vaade trepilt (1974)
Marju Mutsu, Early in the Morning (1970)
In 1967, artist Kaljo Põllu (1934-2010) created another group called the Visarid, which disseminated much information on Western artistic movements and ideas, not least relating to pop art and graphic design.
Kaljo Põllu, Mängutuba (1967)
Kaljo Põllu, Kuulataja (Vaikus) (1968)
Kaljo Põllu, Keegi (1987)
A starker type of art came from the SOUP-69 group, also inspired by pop art and other movements. Amongst the leading figures here were Leonhard Lapin (b. 1947) and Ando Keskküla (b. 1950).
Leonhard Lapin, Woman-Machine X (1974)
Ando Keskküla, Finish (1979).
Also part of this movement was the architect Vilen Künnapu (b. 1948), who would later engage with post-modern architectural ideas.
Vilen Künnapu, Snail Tower, Tartu (2008)
Other notable modern Estonian architects include Raine Karp (b. 1939) and Riina Altmäe (b. 1949), whose best known work is the brutalist Tallinn City Concert Hall (Linnahall) (1976-1980), shown here from various angles.
The Estonian painter Raoul Kurvitz (b. 1961) formed a group called Rühm T in 1986, whose work (which included performance art as much as painting) was described by them as ‘Cold Expressionism’. Here is Kurvitz’s painting Chapelle (1999):
And here is a picture of Kurvitz’s ‘Reconstructed Environment’ Maelstrom (1999/2013):
One artist inhabiting the wilder realms of video and performance art is Jaan Toomik (b. 1961), some of whose work was inspired by the Viennese Actionists, and involves various types of degradation to the body, use of bodily fluids, and so on, but also clear political themes, as well as a recurrent concert with the nature of communication. An interview with Toomik can be read here, and here are some videos of his work.
Another is Ene-Liis Semper (b. 1969), whose work focuses on the body, and especially the mouth and tongue. More can be read on her work here, not least her notorious Licked Room (2000), in which she literally licked a room clean with her tongue.
Here are some samples of Semper’s work:
Semper also formed the theatre group NO99 together with Tiit Ojasoo. Here is a video about their work:
This is one of NO99’s best-known works, NO83 How to Explain Pictures to a Dead Hare, inspired by Joseph Beuys.
Another important figure in radical contemporary Estonian theatre (about which more can be read here) is writer and director Mati Unt (b. 1944). Here is a video of his production Hot (2002).
Best-known of Estonian composers is undoubtedly Arvo Pärt (b. 1935), whose works such as Fratres (1977), Tabula Rasa (1977), Spiegel im Spiegel (1978), and St John Passion (1982) appealed to certain Western ideals of ‘spiritualism’ and won world renown as a result. But not all of Pärt’s work is like this; the cello concerto Pro et contra (1966) is clearly indebted to aspects of a Western avant-garde language, including collage-like techniques, whilst in Credo (1968) for choir, piano and orchestra, Pärt distorts and defamiliarises Bach’s C major Prelude from Das wohltempierte Klavier, Book 1.
Here are two examples of Pärt’s later work:
Another composer of the same generation whose work Kuldar Sink (1942-1995), who began engaging with some modernist traditions, including the neo-classicism, the Second Viennese School, aleatoric composition, and even happenings (Sink, like Pärt, and ANK-64, was linked to an Estonian Fluxus movement in the late 1960s).
In later work, before his death in a house fire, Sink turned to Central Asian folk musics and drastic simplification.
A younger composer who also traversed a path from the avant-garde to modalism and postminimalism (from the early 1980s onwards) was Lepo Sumera (1950-2000)
Lepo Sumera, Pantomiim/Pantomime (1981)
Lepo Sumera, Senza metro (1986)
Lepo Sumera, Tähed / Stars for soprano and piano (2000)
In the fascinating work of Jüri Reinvere (b. 1971), however, one finds a particular type of fusion or interplay of modernist, aleatoric, and romantic elements to varying degrees.
Jüri Reinvere, t.i.m.e. (2005)
Jüri Reinvere, Requiem (2009), excerpt.
Helena Tulve (b. 1972) combines modal elements with a wider musical language influenced in part by musique spectrale, and in some ways reminiscent of the work of Kaija Saariaho.
A much more pared-down music can be found in the work of composer and harpist Liis Viira (b. 1983), notorious for her Reverbeebi/Baby Symphony (2015), in which babies’ voices were combined with instruments.
The group Ensemble U have garnered attention through their creation of an ‘audience orchestra’ in which the audience members control much of the musical decision making.
Estonian cinema is generally thought to have come into its own in the 1960s. One of film which generated a fair degree of international interest was Arvo Kruusement’s Kevade/Spring (1969), based on a popular novel by Oskar Luts, a coming-of-age story set at the end of the 19th century. Here is a section of it, alas without subtitles, but which enables one to sample the visual qualities.
(the rest of the film can be viewed on the same YouTube channel)
Here is a film from the previous year, Kaljo Kiisk’s Hullumeelsus/Madness (1968)
And here is Leida Laius’s Kõrboja peremees (1979)
Of post-independence Estonian cinema, required viewing includes Hardi Volmer’s parody of the Russian Revolution, Minu Leninid/All My Lenins (1997), here available with English subtitles.
There is also an important tradition of Estonian animated film, in which the leading figure is Priit Pärn (b. 1946). Here is his Ein murual/Breakfast on the Grass (1983, released 1986)
Here is a clip from Pärn’s 1992 film Hotel E:
Many other of Pärn’s animations can be viewed online.
One can read about the United Dancers of Zuga here (unfortunately I have not found a good clip of their work).