Mārtiņdiena latviešiem Baškīrijā – ciemošanās pie vāciešiem

Mārtiņi, Svētā Mārtina diena, Lukturu svētki, tā var dēvēt Mārtiņdienu Baškīrijā, pie tam, ja latviešiem šie svētki saistās ar zemes došanos ziemas atpūtā, ķekatām un gaili, tad vāciešiem tie ir vairāk reliģiska satura svētki, bet spožie lukturi, ar kuriem tie staigā pa Prišiba ciema ieliņām 11. novembrī, simbolizē gaismu, kuru ubags reiz ieraudzīja tumša naktī un saprata, ka ir glābts. Gaisma nāca no Mārtina, bet izglābtais ubags bija Jēzus, kas, līdzīgi kā latviešu Dieviņš, zemes virsū meklēja naktsmājas, bet nekur tās neatrada. Mazais gaismas stars izglāba ubagu, Mārtins tam atdeva savu pēdējo gabalu maizes, tāpēc arī bērni, kas Svētā Mārtina diena pa ciemu staigā ar lukturiem, pretimnācējiem dala saldumus.

Stāsts par vāciešu pārtikušo dzīvi Baškīrijā ir līdzīgs latviešu stāstam, tikai atšķirība tā, ka Baškīrijā dzīvojošie vācieši savulaik ieradās no Ukrainas, kur tie, ar Katrīnas II rīkojumu, bija devušies apgūt jaunas zemes. Prišiba ciema vēsture, kurā izveidojās vāciešu kolonija, saistāma ar 1903. gadu, kad tajā apmetās pirmie no Ukrainas ieradušies vācieši.

Arī vāciešiem līdzīgi kā latviešiem gaidītās zemes vietā tika piešķirti meži, no kuriem ar laiku radās tīrumi un dārzi. Vācieši pievērsa uzmanību jaunu kultūru apguvei, proti, paralēli miežiem, auzām, rudziem, tie audzēja kukurūzu un pupas. Arī vāciešu ciemos bija sastopami augsti kvalificēta meistari – skroderi, ādu ģērētāji, kurpnieki, grozu pinēji u.c.

Trīsdesmito gadu represijas negāja secen arī vāciešu kolonijai tos, kurus nearestēja un nenošāva Ufas cietumā, kā vācu un japāņu spiegus, iesauca karā. Ciematā palikušajām atraitnēm ilgi nācās izjust vietējo krievu nicinājumu un dzirdēt tik ļoti ierasto uz vācu tautas pārstāvjiem vērsto vārdu „fašists”. Starp citu arī mūsdienās Prišiba ciemā atrodas cilvēki kam fašists un vācietis nozīmē vienu un to pašu, un tie nekautrējas skaļi paust savu nostāju pret Baškīrijā dzimušiem vāciešiem, kas par savu dzimteni tomēr uzskata Krieviju nevis Vāciju.

Baškīrijas latvieši jauniegūto dzimteni pameta 50-tajos un 70-tajos gados, pēdējie aizbraucēji saistāmi ar 80-tajiem gadiem. Daļa vāciešu savā etniskajā dzimtenē atgriežas vien 90-tajos. Ja starp latviešiem bija tādi, kas Latvijā neiedzīvojās un tādēļ atgriezās Baškīrijā, tad starp vāciešiem tādu nebija. Tie, kas devās uz Vāciju, tur arī palika.

Prišiba ciematā ir skola, kurā vācu valoda tiek apgūta no skolas pirmsākumiem. Sākumā vācu valoda tika apgūta gan kā ārzemju, gan kā dzimtā valoda. Līdzi kā Arhlatviešu vidusskolā, latviešu valodu kā dzimto valodu apgūst tie skolēni, kam ir latviska izcelsme. Tā arī Prišiba ciema vidusskolā, tikai dzimtās valodas stunda, atšķirībā no Arhlatviešu vidusskolas, bija vienu reizi nedēļā. Ar laiku vācu valodas kā dzimtās valodas nodarbību atcēla. Būtiski, ka angļu valodu skolā sāka mācīties tikai pirms gada, visu skolas pastāvēšanas laiku vienīgā ārzemju valoda, ko apguva skolēni, bija vācu valoda. Skolā ir 9. klašu skolēni ansamblis, sākumskolas skolēnu ansamblis. Reizi nedēļā tie dodas uz Vācu Kultūrvēsturisko centru, kur, paralēli valodas apguvei, tie gūst zināšanas par vācu kultūru. Ar vāji slēptu lepnumu gribas piebilst, ka latviešu valodas un kultūras apguve Arhlatviešu vidusskolā ir krietni spēcīgāka, arī saikne ar Latviju – ciešāka. Lai gan Prišiba skolai ir sadraudzība ar Drēzdenes Tehnisko universitāti, tiem tomēr nav bijusi iespēja nokļūt Vācijā. Arhlatviešu skolēniem šāda iespēja ir bijusi un ne reizi vien. Toties vāciešu ciemu bieži apmeklē uz Baškīriju atbraukušie vācieši, kam lielu izbrīnu rada tas, ka kaut kur Baškīrijas dziļumos ir vācu ciems, kurā vēl aizvien var dzirdēt senas vācu tautas dziesmas, kur saglabājusies vācu valoda un kultūra.

Būtiski, ka latviešus un vācieši vietējie krievi un baškīri asociē ar čaklumu, un kārtību, pārticību, kas iegūta smagi strādājot. Tomēr paralēli smagajam darba gan latvieši, gan vācieši nav zaudējuši estētisko pasaules redzējumu. Dzīvot skaisti un dzīvot skaistumā, radīt skaisto sev visapkārt. Pirms gadiem simts un mazliet vairāk tas atspoguļojās Baškīrijas latviešu un vāciešu sētās, mūsdienās – vēlmē saglabāt sevi un savu kultūru tur, kur esi tikai neliela daļa no visuma, kur vieglāk ir kļūt par masu nevis individualitāti.

Ilona Saverasa ir skolotāja, kas māca latviešu valodu un kultūru Baškortostānā.

Sonic tapestries woven by Latvian composer Dzenītis on new CD

Modern classical music can be a challenge to listen to, if not to enjoy. The music is often discordant and highly experimental, forgoing traditional concepts of melody and rhythm and focusing more on new approaches and sonic searches. The music often seems to require a degree in musicology to be understood and enjoyed, as the works can leave audiences mystified. However, with a bit of patience and an open mind, these new works can be appreciated and applauded.

Latvia, with its abundance of talented musicians and composers, is often at the forefront of modern academic music. The variety (and, at the same time, quality) is quite impressive – many Latvian composers are well known worldwide, particularly in the field of choir music.

Some Latvian composers have returned to the traditional approaches to melody and performance – but then there is composer Andris Dzenītis, who is most assuredly at the other end of the spectrum. Among modern Latvian composers, Dzenītis’ compositions are some of the most challenging and difficult to listen to. Eschewing melodies and traditional compositional techniques, Dzenītis works are more like sonic tapestries, exploring new frontiers in sound and performance. His works are certainly not for everyone. Even Dzenītis himself remarked that at times he has difficulty explaining what his works are about in a clear and unambiguous way.

However, intrepid listeners that are willing to invest a bit of time and patience, could very well appreciate — even enjoy — his works. Dzenītis is, for good reason, one of the premiere Latvian composers of the younger generation and his works are not just unique, but often expansive and deep, as well as rewarding for listeners.

Recognizing that the works of Dzenītis are deserving of a larger audience, the Latvian Music Information Centre has released a CD of performances of his works (live recordings from 2009 to 2014) entitled E(GO). This CD is the first release in a new series called Skani that will focus on Latvian composers and compositions.

The collection begins with ‘Preludium. Light’ for symphony orchestra (performed by the Deutsche Radio Philharmonie Saarbrucken-Kaiserslautern and conducted by Karel Mark Chichon). As the title would indicate, the theme of this work is the dawning of light. Beginning with a contemplative, mysterious flute solo, the focus of the work then moves to the trumpet with an ever-expanding crescendo heralding the dawn of a new day. There is at once a sense of magic, but also a sense of trepidation in this dawn, and the work concludes with a subdued duet between harp and bells.

From the chamber music genre there is Dzenītis’ String Quartet No. 1 ‘Trataka. Point noir’ (performed by the Silesian String Quartet). Inspired by the yoga exercise trataka (Sanskrit for ‘gazing’), that involves staring at an object for an extended period of time with the goal of improving concentration. Similarly, the composition begins with an extended unison performance by the quartet, with the goal of focusing both the musicians and the listeners. Reflecting the chaos of modern life, the work itself then becomes chaotic and discordant, and, at the end, returns to a similar unison. Dzenītis studied with composer Pēteris Vasks, and one can detect some of Vasks influences – the harsh strings may remind the listener of Vasks’ ‘Grāmata’ for cello, with its similar shrill introduction.

Dzenītis, like many Latvian composers, has also become known for his choir works. The vocal work on E(GO) is ‘Om, Lux Aeterna’ (performed by the Latvian Radio Choir, conducted by Kaspars Putniņš). Here Dzenītis fuses multiple singing styles and texts – a Latin text performed in a comparatively traditional way combined with Buddhist and Vedic mantras, complete with throat vibrations. The Latvian Radio Choir, with their extensive experience in performing non-traditional vocal works, are the ideal choice for this performance, particularly soloists Agate Burkina (soprano) and Gundars Dziļums (bass), whose performances bring forth the Eastern mysticism and make this work particularly engrossing.

The work ‘E(GO) – Concerto for saxophone and orchestra’ (performed by saxophonist Arvydas Kazlauskas and the Latvian National Symphony Orchestra, conducted by Normunds Šnē), is an expansive and dramatic work, and perhaps Dzenītis’ magnum opus. The title can be considered a bit of a pun, as the theme of the work is letting go of one’s ego (Ego – go!) as the work begins with the saxophone and orchestra locked in struggle – which eventually does resolve itself as the saxophone begins to blend in with the orchestra. Also displaying a Vasks influence, this large form work is full of foreboding and even fear. Kazlauskas’ performance is memorable, as it is not just music but also sounds and vibrations as he portrays the titanic battle.

As this collection began with a ‘Preludium’, it seems appropriate that it would end with ‘Postludium. Ice’ for symphony orchestra (performed by the LNSO, conducted by Karel Mark Chichon). Intended as a postlude to Dzenītis’ opera Dauka, the work returns to the theme of nature, with its variety of sounds and colors depicting the sea and the ice that covers it, stretching out into eternity.

The CD booklet contains extensive notes in Latvian and English about the compositions themselves (which are most helpful and informative in developing one’s appreciation for these works), a biography of the composer, and some commentary from both conductor Chichon and composer Vasks.

Though Andris Dzenītis’ music can make for daunting listening, there is most certainly a method to the madness. Combining various musical styles, various spiritual influences and beliefs, and challenging both performers and listeners to abandon their set ideas about what music should sound like and open their ears to new sounds and experiments, E(GO) displays a unique and creative mind, that combines with exceptionally talented musicians to take the listener on a journey that is often harrowing, but, in the end, remarkably rewarding.

For further information, please visit the composer’s website.

Andris Dzenitis - EGO

E(GO)

Andris Dzenītis
Latvian Music Information Centre, LMIC/SKANI 040, 2015

Track listing

  1. Light for symphony orchestra
  2. String Quartet No. 1 Trataka. Point noir
  3. Om, Lux Aeterna for choir
  4. E(GO), concerto for saxophone and orchestra
  5. Ice for symphony orchestra

 

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Kostīmu Kauss: The World’s Best Halloween-Themed Latvian Volleyball Tournament

A video game character, a bearded Boy Scout, a referee, and Mr. Clean walk onto a beach together. No, it’s not the beginning of a cheesy joke. It’s the winning team from this year’s Kostīmu Kauss (“Costume Cup”), held this past weekend outside Los Angeles.

Kostīmu Kauss is a Halloween-themed volleyball tournament founded in 2008 by Latvian siblings Kaija and Aleks Dankers of Hermosa Beach, California. Their idea was simple: invite some Latvian friends and family over to the house for a Halloween party, then go down to the beach the next day to play some volleyball. To maintain the Halloween theme, all players were required to wear costumes. The main focus of the tournament was to bring together friends new and old for a fun event, regardless of volleyball skill or connections. To encourage participation and mingling, participants signed up as individual players and assessed their own playing level as one of the following:

A: “Es ļoti labi protu spēlēt voleju” (“I play volleyball very well”)
B: “Es samērā labi protu spēlēt voleju” (“I am somewhat good at playing volleyball”)
C: “Es esmu spēlējis agrāk” (“I have played before”)
D: “Kā sauc šo apaļo lietu, un kāpēc šajā jūrmalā atrodas stabi ar tīkliem?” (“What do you call this round thing, and why does this beach have posts with nets?”)

Players were then assigned to teams, with players of various experience levels on each team to ensure a fair distribution of skills. In the evening, after showers, everyone returned to the house for a relaxed dinner.

Now in its eighth year, the tournament has proven tremendously successful and its format remains in essence the same. While the first year consisted mostly of local Latvians, the event has grown tremendously in popularity and reputation, and players fly in from all over America. It helps that cities such as Chicago and Washington, D.C. are just getting their first hints of cold weather- participants from those areas get a last chance to experience warm weather in the California sun before being plunged into winter.

Perhaps the most noticeable change happened three years ago, when the Dankers siblings moved out of the house that once hosted the festivities. Both the Halloween costume party (which occurs every year regardless of whether the tournament weekend falls on Halloween) and the post-volleyball awards dinner moved to local bars and restaurants near the beach. In the first years there were few enough visitors from out of town that everyone could spend the night at the Dankers’ house, sharing beds, couches, carpeted floor space, and sometimes more ingenious sleeping solutions. Today, participants are scattered among hotels and vacation rentals. This year, twenty participants rented a beach house together, continuing the spirit of camaraderie brought about by close quarters.

Lessons have been learned over time. Players quickly realize that it is surprisingly difficult to find a costume in which one can effectively and comfortably play beach volleyball. Most accessories are cumbersome or even dangerous. Wigs and hats fall off. Mermaid skirts restrict movement. Polyester does not breathe, particularly under the hot California sun. And people flying into town need to figure out how to get their Thor hammer or Ninja Turtle nunchucks through airport security, or how to fit their homemade peacock tail into their carry-on bag and overhead bin. This year’s costume selection was further complicated by Halloween falling on a Saturday; this meant that the costume party took place on Saturday evening after play, instead of on Friday, the night before play. Some warriors toughed it out and wore their sweaty, sand-covered costumes to the party that evening, but others had to give up.

Needless to say, people begin dropping costume pieces quickly when it comes time to start playing, and the sideline ends up littered with items such as toy swords and masks. This phenomenon led to the rule that players must keep on at least one piece of their costume at all times. Prizes are awarded every year for the best costumes, and to encourage maximum costume utilization, the judging criteria includes not just creativity and enthusiasm, but also how much of the costume remains on during the actual playing. It’s no surprise, then, that this year’s big winner was Kārlis Memenis, who went as “Left Shark,” the backup dancer made famous during Katy Perry’s Super Bowl halftime show. The full-body costume was epic to begin with, but what truly stood out was the fact that Memenis managed to keep the suit on the entire day, setting the ball with his fingerless foam fins while peering out from the slit between his shark teeth (and, frankly, making those of us with unrestricted movement and a full field of vision look bad by comparison).

The best-costume winner receives a traveling trophy, and there are second- and third-place prizes (this year awarded to a gladiator and a Quail Man, respectively), as well as numerous honorable mentions. Non-playing spectators are encouraged to dress up, too (and most do); this year, honorable mentions went to onlookers dressed as “The Continental” from Saturday Night Live‘s popular Christopher Walken sketches and infamous celebrity chef Paula Deen, recognized alongside player Guy Fieri.

Lest we forget, there is an actual volleyball competition in addition to the costumed revelry. For the past seven years, teams have been made up of four players each, but this year, a large amount of participants led to teams of five or six, with seven teams split into two pools. A single round of playoffs was followed by a final championship game. This year’s winning team consisted of Kārlis Biksa (Mr. Clean), Dāvis “Davey” Bolšteins (a referee), Kārlis “Charlie” Dankers (a Latvian Boy Scout), and Katrīna Kramena (Link from “Legends of Zelda”). They were presented with the prestigious Kostīmu Kauss itself: a plastic jug mounted onto a standard trophy base and engraved with each year’s winning team.

After eight years of consistent and growing numbers, Kostīmu Kauss shows no signs of stopping. Tournament founder Kaija Dankers is confident that the show will go on, and hopes to keep the tradition alive until she is old and gray. Given the enthusiasm of the participants, this result is a solid possibility. Now excuse me while I go ice my joints, apply aloe to my sunburn, and try to come up with a way to one-up Left Shark and win the best-costume trophy next year.