Latvian folklore was traditionally passed down from one generation to the next via family traditions. These traditions have, over the centuries, unfortunately lost their relevance in daily life, so the passing down of Latvia’s cultural heritage has largely been left to schools and community groups. Their efforts now may be aided by a new book, Rokasgrāmata folkloras mācīšanā, by Ilga Reizniece.

Not all Latvian schools both in Latvia and outside of it teach Latvian culture as part of their curriculum. Some schools, however, have included some elements of Latvian folklore in their school traditions.

Our children, who are attending school in Rīga since Sept. 1, have come across two such celebrations so far: Mikeļdiena and Mārtiņdiena. Mikeļdiena celebrations were marked by fruit and vegetable sculptures created by the children (and in many cases, the parents) and displayed in the school yard, while Mārtiņdiena was the day the children from the older grades sold homemade items to the younger kids. I asked the children if any of the teachers had explained anything more about these days that are of important ritual significance in the ancient Latvian solar calendar. “Nē”, they both replied, not much more had been explained. The younger children had painted a rooster (the traditional fare for Mārtiņdiena feasts) in art class, so I guess that was as far as the teachers wanted to go with this topic.

Some schools in Latvia, such as the Jūrmala Alternative School not far from Rīga, have embraced Latvian traditions fully with folklore lessons part of the school’s curriculum. One of the educators at this school is Reizniece, best known as the lead singer and violinist for the post-folklore band Iļģi. Reizniece is a person with boundless energy and a passion—and a gift—for the passing of Latvian traditions on to the younger generation. In the past 15 years many books have been published on the subject of Latvian folklore. Some have actually had content that is very similar to what you will find in this book—Latvian children’s games with music and actions, songs, skaitāmpantņii (children’s verses)—but this book goes one step further.

Although it is in Latvian, the book is an easy read, so don’t fret if you think your Latvian will not be strong enough to follow the text.  The tone of the book is informal and chatty, making you feel that Reizniece is talking to you directly. She relays some interesting stories from her folklore “lessons” (it seems more fitting to call them “sessions of fun and games”). Reizniece has not only included a huge variety of traditions and grouped them by season (as is usually the case when teaching traditions), but has done it in such a loving and playful way that you almost want to run out yourself, find some children and start singing and dancing with them to your heart’s content!

The seasonal approach is not the only way the traditions have been grouped. There’s a section on lullabies, sun songs, Latvian mythology in general, jokes, folksongs about mothers, birds and so forth. The sheer variety of ideas would be a delight to anyone teaching the subject in a weekly school situation as you would be guaranteed a lesson every week for the whole school year with many topics left over. The book is not meant as a curriculum. It is more a treasure chest of suggestions that can be adapted to suit the situation at hand.

Rokasgrāmata folkloras mācīšanā is practical as it recognizes that the concepts portrayed in these traditions are hard to explain to kids who live in the 21st century where technology rules and contact with an agricultural lifestyle is minimal. Reizniece has drawn from many years’ experience with children of all ages and has come up with her own solutions to this problem. Another positive element is that reference is made to other media as potential resources for teachers: the Web, videotapes and DVDs, and excursions to specific museums in Latvia, such as the Ethnographic Open Air Museum, Latvišu Folkloras krštuve (Archives of Latvian Folklore) or the Krišjāņa Barona muzejs.

The book can be used by parents or grandparents and incorported into their own family traditions. This doesn’t necessarily have to mean it is “taught” to children by an educator in the classical sense. It also is great to read even if you don’t come into contact with children in your day-to-day life. You can learn a great deal about the world view of the ancestors of modern-day Latvians from the explanations of these simple children’s songs and games.

The standard tourist film about a country or city often seems to inform but at the same time lull the viewer into a gentle slumber. It’s often hard to remember the main points—and main attractions—the film has tried to bring to our attention. The problem is usually too much information in too short a time span. The documentary Mana mīļa Rīga (My Beloved Rīga) certainly does not fall into this category.

Director Laima Žurgina’s film was first released in 2004 and now is available on DVD.

The film is two hours long, so it has plenty of time to elaborate on specific themes. These give the viewer a good insight into various aspects of Rīga. There’s “Art Nouveau Rīga” and “Historical Rīga”, both with commentaries by experts; “Rīga’s Beautiful Cemeteries,” with commentary provided by a gravedigger; and the nation’s symbol , the Freedom Monument. The unhurried flow and sincerity of these commentaries, coupled with background music that blends in perfectly with each theme, make the title of the DVD seem fitting. One more added bonus is good-quality English subtitles, a detail that can often make or break a product.

Other clips show Rīga’s unique and memorable celebrations such as the seasonal Zāļu tirgus (herb and grass market) in the Dome Square the day before Midsummer Night and the annual arts and crafts fair at the Open-air Ethnographic Museum just outside Rīga during the first weekend in June. These two occasions show the nation’s love for tradition, both in terms of celebrating specific festivities as well as the continuation of centuries’ old traditions of embroidery, knitting, weaving, ceramics and other local handicrafts.The hope is that these folkloric legacies will remain with the Latvians for decades to come and cosmopolitanism will not take over.

Interviews with the architects of the new Hansabanka building, Saules akmens, as well as the architect responsible for the total revamp of Rīga Airport show Rīga’s contemporary new face and the direction that Rīga is heading in the 21st century. A fairly lengthy section devoted to a street festival may seem to drag, but it does show Rīgans relaxing and is a welcome break from the more serious parts of this documentary.

Scenes depict famous Rīga-born celebrities such as Gidon Kremer and the Kremerata Baltica, Olympic javelin-thrower Jānis Lūsis and his son Voldemārs, and artist Kristaps Zariņš—all in some way expressing their pride in their hometown and the emotional ties that bind them to the place. A Russian Orthodox Easter Mass, the opening ceremony of the Jewish Ghettos Memorial in Rumbula, the Latvian Song Festival and enthusiastic hockey fans celebrating Latvia’s win in a game all effectively depict the multicultural microcosm that is Rīga.

You catch the feeling that Rīga is in a state of flux. The film has no pompous attempt to exaggerate Rīga’s attractions nor an undertone of apologising for its shabbiness and neglect as a result of Latvia’s Soviet legacy. Emphasis is on the future, on Rīga’s dynamic changing nature and the possibilities that lie ahead.

After seeing this documentary you feel intrigued by Rīga and its diversity. The fim provides just enough information to raise a potential tourist’s interest level. For those who have just been to Rīga the film will give a bit more of an insight into what makes this city tick. The cinematography also helps shape the film. Subtle changes to the standard format—architecture, history, nature shots—couple with unusual angles, the use of narrative by local experts and a general feeling that the film has not been merely commissioned but created by professionals with a strong sense of pride in their city, make Mana mīļa Rīga stand out from other films of this genre. Rīga, and Latvia in general, would benefit if more people would use their creative skills with this positive aim in mind.

While visiting or living in Rīga, you’re bound to lift your head skywards to admire the architectural masterpieces that dot the central skyline: the Old Town church spires, the Freedom Monument, the television tower or maybe the Soviet-style Academy of Sciences.

But the architecture that usually makes tourists’ jaws drop is Jugendstils or Art Nouveau, a style from the turn of the previous century (1880-1910) characterised by free-flowing forms and use of organic shapes in facades, such as human figures and animals. Art Nouveau is not only visible in whole buildings and their sculpted reliefs but also in stained glass windows, wrought iron gates and doorknobs, interior stencils and other ornamental design features.

Rīga is said to have the largest concentration of Art Nouveau buildings in the world. Forty percent of the buildings in central Rīga are Art Nouveau structures, with Alberta iela being the grand dame of this particular style.

Where on the Web can you glean more information about this historical architectural style? A good place to start is Photo Collection Art Nouveau Lettonie, a great gallery showing the various ways this style has been incorporated into the facades of Rīga’s buildings.

For guides to the must-see streets for Art Nouveau architecture have a look at Riga municipality portal. Another brief description is available at the Latvian Culture Vortal. It’s also worth reading a Wikipedia entry about the leading architect of this era in Latvia, Mikhail Eisenstein, and a Rīgas Balss article about the leading street, Alberta iela, republished on the Web site of the Rīga Graduate School of Law.

After 50 years of neglect under Soviet occupation, the restoration of Rīga’s architecture from the previous centuries is well underway. Simultaneously a new Riga is being shaped. Many old buildings are simply torn down and replaced by new mirrored glass structures.

In the planning stages are three new controversial projects estimated to cost in the millions of lats to build. These will change the skyline of downtown Rīga forever. The responsibility for the planning and construction of these new structures lies with a state agency, Jaunie trīs brāļi (The New Three Brothers), led by construction engineer Zigurds Magone. Gaismas pils (Castle of Light), the new home of the Latvian National Library is to be located on the left bank of the River Daugava based on a project designed by U.S.-based Latvian architect Gunārs Birkerts. The Museum of Contemporary Art, designed by Dutch architect Rem Koolhaas, is envisaged to be built by literally encapsulating the existing TEC (thermoelectric central) building on Andrejsala, located to the north of central Rīga on the right bank of the River Daugava. The third project, the new acoustic Concert Hall, is to be constructed on AB dam, directly opposite the Old Town.

If all of these new mega-projects come to fruition, then Rīga will be able to take pride in not only the architectural achievements of the previous centuries but of this century as well.