Latvians Online visited the Latvian Artisans’ workshops that take place annually over 2 days at Melbourne Latvian House. The 4th annual workshops were run this year. We caught up with Ilze Švarcs, the main organiser and driving force behind the workshops.

Who had the idea to start running the Latvian Artisans’ workshops and market?

The idea sprang from a wonderful group of artisans, known as the Latvian Australian Artisans Guild. (LTMF = Latviešu tautas mākslas fonds* ). We are a core group of around 10 members who meet about once a month and undertake projects to foster Latvian culture and identity through maintaining and furthering Latvian applied arts. We are involving a growing number of artisans who cannot attend meetings, but are willing to share their knowledge and skills by teaching at our workshops, and being involved with our work in other ways. The number of participating artisans is edging 20, which is just fabulous!

* The group currently known as LTMF is in the process of changing its name back to the name of the group formed in in 1965 during the Australian Latvian Culture Festival in Melbourne. The group was called the LDAA Latviešu Daiļamatnieku Apvienība Austrālijā or the Latvian Artisans’ Association of Australia. I love the English acronym: LAAA!

How did the idea come to you? Did something happen to give you the idea?

I lead the LTMF. I become passionate about rebuilding the Latvian Australian artisans’ movement for two reasons. Firstly, I participated in organizing an exhibition of vintage Latvian crafts here in Melbourne in 2012. Such an exhibition had not been mounted for years, and I was amazed at the variety and beauty of Latvian craftwork. I felt really proud of my Latvian heritage and thought this is the best marketing tool for promoting Latvia, which is still so little known in the world. Furthermore, I saw that some of the people who had created these beautiful works were still with us and are still very active, kind and generous, but they are elderly. If we want to harvest their knowledge and pass it on, it must be done straight away.

Then I heard some news which struck me as a cultural tragedy: the family of a fabulous Australian Latvian craftsperson who had died several years earlier, disposed of his tools and materials, not realizing their incredible worth. Specialised tools, particularly old, well-made tools, are hard to find and often very, very expensive to replace. Similarly, old materials can be a precious, rare find. Some of the disposed materials included started projects from which we could have learnt so much today, and unique, customized tools, which cannot be replaced.

I now regularly write in the Latvian newspapers to encourage people to donate any relevant tools, materials and items to us. We either use them in our workshops, or donate them to the Australian Latvian Summer School in Adelaide, or we sell them at our vintage artisans’ market to raise funds for our projects.

 

How many times have the workshops been held now?

We just held our 4^th round of workshops. The first was for two days in 2013. Sometimes they are held over 2 days, sometimes just one day.

Do you find that you are reaching those community members that rarely come to the usual Latvian events?

Absolutely! I just love the fact that we involve several generations of learners and presenters, from all walks of life and levels of “Latvianness”. Some participants are well known members of the Latvian community, some are very rarely seen, some are friends or partners of Aussie Latvians. It is great to have people come in and admire Latvian House and see how fabulous and fresh it looks, and how busy it is, particularly on a Saturday.

Why do you think they find you?

If you mean how do we advertise: we use notifications in both the Latvian newspapers here in Australia, we place fliers in all the places where Latvians congregate, but quite frankly, the best form of advertising has been Facebook. News seems to spread like wildfire. We had most of our bookings secured within hours of first posting the event!

If you mean why are people attending: I think there is a growing interest in old school skills. It’s great having the instantaneous pleasures of the digital world. But there is something uniquely satisfying by seeing something evolve using your own hands.

I also think that people are searching for an identity. The Latvian applied arts are very attractive, ancient and they contain a lot of symbology. Exploring their Latvian roots through the ancient crafts, allows people to learn about their own heritage in a practical, but personal way. As you sit and plan your item, or go through the steps required to create it, you feel a direct link to the many, many people who developed the process over the eons before you.

What has the response been like – comparing the three years? Do you feel that holding the event annually is often enough? Is interest waning or growing?

This movement sure is growing! I presented a speech at the Latvian Culture Festival in Adelaide on Latvian Jewellery and Symbology in 2012 after which I surveyed the public on their perceptions of the future of Latvian applied arts in Australia. I was shocked to find that the overwhelming majority thought that there was a great past, but no future, and even no present! The subsequent work of the Australian Latvian Artisans’ Guild has reanimated the movement. Each year we have had more interest from both artisans and participants. We had 14 artisans and 32 learners at the last workshops. That’s pretty amazing, I’d say!

I don’t think we will hold the event more often than once a year. The event is a huge ask for the artisans involved. I think it takes a year for the energy to rebuild!

You know what is interesting? Many of the artisans insist that they are not artisans, that they don’t know enough. But they come along, and see that they do know a lot more than anyone else in their field. They see that the learners are so keen, that the atmosphere is great and they enjoy themselves. They do a little more learning and a little more research, and the next year they are starting to accept their title! I think that’s why we are growing. We are just a bunch of inclusive and accepting people sharing our knowledge to the best of our abilities.

There is a Latvian Cultural Festival scheduled for the end of the year in Melbourne. Will the Handicrafts Association be hosting an exhibition or workshops during the Festival?

Yes! But don’t call us “Handicrafts”. That reminds me of crocheted toilet roll covers. We are artisans!

Our group is organizing an exhibition of Latvian applied arts as part of the Australian Latvian Culture Festival. We are proud to have involved important artisans from both Australia and Latvia. The idea behind the exhibition is to showcase works which reflect Latvian culture past, present and future. There will be plenty of local artists on display, but we will feature world reknown textile artist India Flint, who is creating an installation specially for this exhibition, as well as award-winning Rīga Master Weaver Māris Maniņš, who will be bringing works from Latvia. There will also be an artisans’ market and a place to put your feet up and enjoy the atmosphere. The exhibition will take place at the home of the Daugavas Vanagi (Latvian Relief Society) 87 Chetwynd Street North Melbourne, every day 10am – 4pm, 26^th – 31^st December 2016.

How and why did you get involved in handicrafts?

I have always had an artistic talent. I wanted to be artist, but my mum talked me out of it. She said there was no money in being an artist and I could always go back to art later. She was right. I’ve had a great career in education, and now I’ve retrained and run a small business as a jeweller, called Vasara, making Baltic-inspired jewellery.

I’m glad I’m not trying to earn a living from making hand-made jewellery. I think all our artisans suffer the same problem. People like individual, authentic and handmade, but they don’t grasp how many hours are involved.

Give us a bit of an idea of how these workshops are run (the format).

The artisans prepare materials, samples, masters and tools at home and arrive with carloads of gear. We arrive at 8am and set up for 2 hours. Participants arrive at 10am and work through until 4pm. Then the artisans clean up (we got lots of help last time from the participants, thanks!) and pack up. Almost the biggest task for me is retooling my studio at home after the event.

If it’s a Saturday, we make use of the wonderful fare at the Latvian House café. If it’s a Sunday, we provide food and refreshments. That way we don’t lose time and people to going off in search of sustenance away from Latvian House.

The artisans are just marvellous. They donate their time, knowledge and use of their tools. All money raised goes to further our projects and buy materials for the workshops. No money goes to the artisans themselves: what cultural heroes!!

At the last workshops we offered our participants the opportunity to try their hand at a craft at the very reasonable rate of $40 per day including all materials (except sterling silver and some specialist woods).

For more information on the workshops and LTMC please contact Ilze Švarcs on svarcsilze@gmail.com

 

Thanks for the interview!

 

 

Latvians Online interviewed Australian-Latvian living in Sydney – Linda Ozers – who is currently undertaking PhD studies at University of Technology Sydney. The topic of Linda’s thesis: Ethnic identity and heritage language in the third generation: the Australian Latvian experience.

Latvians Online: Please tell me a bit about yourself and  your area of study.

Linda: After spending many years working in various roles in secondary education I returned to university to do further study and to work helping students with academic writing. During my Master in Teaching English to Speakers of Other Languages course, I discovered that most immigrant languages are lost by the third generation. This caught my interest and I started to ponder the fact that there are third generation Latvian speakers here in Australia. I started to wonder what motivates them, how do they identify and how do they use Latvian?

You’ve been an active member of the Sydney Latvian community for many years. Has this contributed to the reason for wanting to tap into the “psyche” of the younger generation in the community?

Growing up as a second generation Australian Latvian there were periods when I questioned my own identity and when I spoke no Latvian. At the time the Latvian community was much bigger and more active. My Latvian upbringing was fairly typical in that I went to Saturday school and participated in folk dancing. I was also in the Latvian girl guides, played kokle and volleyball, belonged to the Latvian Youth Association of Australia, organised meetings, conferences, events etc. From a young age my main interest has always been acting in the Sydney Latvian Theatre ensemble and this has given me many opportunities to use Latvian. Young Australian Latvians today are part of a generation with interests and opportunities that are perhaps different from previous generations. I am interested in how they see their “latvianness” – and what role their identity and Latvian language has in their everyday lives.

The topic for your PhD that was presented to youth at the Summer High School was: Ethnic identity and heritage language in the third generation: the Australian Latvian experience. You conducted individual and focus group interviews. How many youth members of the community have you interviewed so far? Please share some of your preliminary findings.

The study has 2 parts – focus groups and interviews. Focus groups were held at the Summer High School to initially help identify what are the important issues for this adolescent age group. I’m just starting the interviews. They will be used to probe deeper – especially with the older youth (20+) group. I am seeking to gather views from as wide a range of young people as possible – those who do and those who don’t speak Latvian, participate in the community and so on.

52 young people participated in 8 focus groups at the Summer High School. The students were very articulate and willing to share some deep, and at times humorous, observations. As the research is still underway, I can’t reveal too much of what I am finding, as it may influence other participants. As a general observation I can say that 2 very powerful messages that came from these focus groups were the importance of friendships and the role of various community activities in the formation and maintenance of their “latvianness”.

Did you have an initial hypothesis that you wanted to test? Has is been confirmed or refuted?

I deliberately approached this research with no hypothesis. There is little research around topics of adolescent and young adult ethnic identity and heritage language use in the third generation. My study is very much exploratory and follows what is known as a “grounded theory” approach. Data is gathered and analysed revealing theories and findings.

Have your questions proved a challenge to answer for your interviewees? 

The one question that proved to be somewhat challenging for the focus group participants involved their views on what would happen in the fourth generation. They obviously hadn’t considered this scenario, but after some thought many answered that they would try to pass on as much of their heritage and language as they could.

Have your preliminary findings conformed to what happens with other cultures and languages in a similar situation?

There are many variables that influence what happens not just within different ethnic groups, but also with individuals. One important aspect is to do with how a particular ethnic group values their language and culture. There was some research done in the late 1970s in Australia, across a number of ethnic groups, indicating that for Latvians their language was very important – more so than for many other groups. There is some evidence that having refugee origins results in quite different migration, adaptation and assimilation motivations and experiences than for other migrants. For the first generation it was important to maintain and pass on the language and cultural traditions from Latvia’s independence period between the two World Wars. The question is whether this motivation continues into the second and third generation.

I am still seeking young people to interview. If you are interested and have at least one Latvian grandparent who came to Australia post World War 2 and at least one Latvian parent who was born in Australia, please contact me to see if we can arrange an interview Linda.Ozers@student.uts.edu.au. Paldies!

 

Latvians Online recently got their hands on the English translation of the Latvian classic: – Dievs, daba, darbs, Skarbos vējos and Akmens sprostā. This is the work of a Latvian-American living in Minneapolis – Ilze Kļaviņš-Mueller – who has now made 19th century Latvian rural life come to life for the English-speaking world. An interview with the translator herself  provides more insight.

Latvians Online: What inspired you to translate the Brigadere trilogy into English?

Ilze: Back in the ’80s, a listener-supported radio station here in Minneapolis had a daily children’s program. I started reading episodes I had translated from Jānis Jaunsudrabiņš’ Baltā grāmata (The White Book) on the air, and went on to translate and read a few chapters from Brigadere’s Trilogy as well. Much later I decided to translate the entire book, though initially the task seemed daunting.

Why did you choose Brigadere in particular?

I have known and loved Anna Brigadere’s Trilogy since I was little. The Latvians have a number of such wonderful childhood memoirs – Jaunsudrabiņš, Brigadere, Aspāzija, Valdis immediately come to mind. These books gave me a deep insight into rural life in late 19^th and early 20^th century life in Latvia – Latvian history seen through the eyes of children who experienced it. Little Annele, the protagonist of the Trilogy, was one of my favourites.

What were the challenges of translating such a classic piece of literature into English?

The challenges were many. The one that initially seemed insurmountable was the vocabulary – names for tools, foods, plants, clothing that were not in my dictionaries. When I started translating the book in the 1990s, the resources of the Internet were not yet available to me. But then I inherited from a relative the six-volume Dictionary of the Latvian Language by linguists Kārlis Mīlenbahs and Jānis Endzelīns, an incredible piece of luck. Another challenge I faced was Latvian syntax, where, for instance, the subject of a clause is frequently omitted, or the unreliability of a statement is expressed by the so-called narrative mood of the verb.

Brigadere has a sharp ear for the voices of her characters: each has a distinctive pattern of speech – how should I differentiate in English the speech of a farmhand from that of a Jewish tailor, or a pastor’s housekeeper, or a young man trying to pass himself off as a German? The important thing was to avoid obvious Americanisms or modern idioms, which would “place” the story in the wrong setting. I did not always succeed in rendering subtle differences between the voices of the various characters. But I tried.

What did you enjoy most about the process?

As I worked, I found myself “listening” for the voice of the narrator, trying to catch each nuance, searching for the exact shade of meaning. I was happiest when a translation “worked” – when a character’s voice sounded authentic. I had feedback, too, from a women writers’ group I was in whose patient ears heard the first version of my translation. They picked up on things that sounded unclear or wrong. And it was great to realise that the story held their attention, that they too loved Annele.

What new things did you learn about this classic whilst going into each sentence and word in-depth?

As a child, I had focused mainly on the story of Annele. As a translator, I came to appreciate the richness of Brigadere’s language, the subtlety of her descriptions, the craft that went into the writing of this amazing book. From my childhood, I seem to remember only the first two parts of the Trilogy (Dievs, daba, darbs – God, Nature, Work; and Skarbos vējos – Harsh Winds). As an adult, I was stunned by Brigadere’s description, in part 3, of Annele’s sister Līziņa’s fate. The narrator is never sentimental, but pitilessly conveys the tragedy of a gifted young woman’s lack of career opportunities, when marriage seems the only viable choice.

Have you translated other Latvian literary works? Are you planning more in the future? 

Other than a series of poems, I have also recently translated Vizma Belševica’s wonderful Bille books (Bille; Bille and the War; and Bille’s Beautiful Youth). I am looking for a publisher for them. I no longer have the energy or the funds to self-publish them as I did Brigadere’s Trilogy.

One translation project I am considering at the moment is Valentīna Freimane’s memoir about her life growing up as a Jewish girl in pre-war Riga and her survival during the Holocaust. That’s been translated into German (Adieu, Atlantis), but so far there has been no English translation.

Who do you think would be your target readership?

 I envisioned a readership consisting of my American friends here in Minnesota, and the children and grandchildren of Latvians in English-speaking countries. While many of the latter speak fluent Latvian, it may be difficult for them to read and understand Brigadere’s work in the original. People here and all over the United States have also bought the book for their friends. The Twin Cities Latvian community has been very supportive.

How long did the translating take?

I can’t really remember. I worked on the book on and off for something like two years while teaching college German. When I finally decided to publish the translation, there was a lengthy period of proofreading – at least several more months.

What did you learn about translation through this process?

Hmmm. There are several schools of translation: the translators who stick close  to the original even if it sounds somewhat foreign, and the translators who smooth things for the reader, make everything sound familiar. My own philosophy is that the reader enters a translated work as a tourist enters a country he is unfamiliar with – the translator can help a little to orient the reader, but too much help would distort the reality of the other culture. My translation began by being fairly literal, and over the months I became more “emancipated”. I kept on a few Latvian words (pastala, klēts), but sometimes chose similes, metaphors, and proverbs that came from the reader’s own language and tradition. In other words, I evolved as a translator, and hopefully improved a bit.

Do you look at Brigadere differently now that you have come to scrutinise her works so closely?

Yes. I feel now more than ever that Anna Brigadere deserves to be ranked among the foremost European authors of her time. 

The book costs $27 plus postage and can be ordered by emailing Ilze directly  <ilzemueller@gmail.com>  or from Amazon.com (ask for The Annele Trilogy). Libraries outside the U.S. – please contact Ilze directly.