Moving to Latvia – so what’s it like?

image

Jūlija (center) took part in the 2013 Latvian Song and Dance Festival, dancing with the folk dance group “Ritenītis”. Photo courtesy of Jūlija Gifford.

Latvians Online interviewed Jūlija Gifford, a Canadian-Latvian twenty-something who moved to Latvia from Ontario a few years ago.

We wanted to learn how she found the move and how she’s doing now. Her answers were honest and at the same time quite inspirational.

How and when did you decide to move to Latvia? Was it easy to reach this decision? How did your family and friends take the news?

I decided I’d study in Latvia around the same time when all of my friends were choosing their universities, in Grade 12. After having done a lot of research about Ontario universities, different programs, going to all of the university fairs, I came to the realization that I didn’t feel passionate about any of the opportunities that my classmates were looking at. I wasn’t the kind of person who knew that they would only be a doctor, lawyer, etc, and I had too many different interests to be able to focus on one. So I decided to look outside Canada’s borders, where the real education would come in the form of life experience.

It was a difficult decision to reach. There was minimal information available for international students, and there was a lot of uncertainty involved. While applications for universities in Canada happen in the winter, applications in Latvia only happen in the summer. So by graduation all of my friends had already been accepted and knew where they would be going in the fall, while I was left, crossing my fingers, hoping everything would be OK.

I’ve always been quite independent – so my family and friends’ opinions never really factored into my decision-making. But for the most part everyone was very supportive.

What was it like – enrolling to study at a university in Latvia? Was it a simple or complicated process? What would be your tips for others interested in studying in Latvia with no experience with Latvian bureaucracy?

The process of applying isn’t complicated in itself – what caused the most headaches was everything leading up to the application deadline. The first challenge was that I had decided on a program at Rīgas Stradiņa Universitāte (International Relations – European Studies) – a program that’s entirely in Latvian. Therefore, they didn’t foresee a possibility that they’d have to deal with international students’ applications. They had listed all sorts of requirements for applying, like centralized-state graduation exams, and an entrance exam for which they offered preparation courses the entire previous semester (which I obviously couldn’t attend, being in Canada and all..).  After many long-distance phone calls, I was finally given the program director’s cell phone number. He was very kind and good-hearted, and was absolutely sure that I should come to Riga “Brauc tik šurp, gan jau viss būs kārtībā!”.(Come on over, everything will be fine) OK, not exactly the hard evidence that I was looking for to calm my nerves. But he told me I wouldn’t have to write the state exam, and that was a relief. It was just the entrance exam that I would have to deal with. I would, however, have the disadvantage of not being able to attend the exam preparation courses.

When I arrived in Riga, and went to go hand in my application (this all happens manually – I physically had to go there to apply), I came across the next challenge. You needed a personas kods(personal ID code for citizens. Ed.) to apply. I, armed with Canadian citizenship, wasn’t in possession of such a code. When I dug around to find out how I could get myself such a code, then I came across the Citizens Migration Affairs Deparment, who told me I’d be given a code once I apply for a residence permit. Ok, so how do I get a residence permit? I had to come with a signed contract with the university, that I’ve been accepted. And so this cycle was unbreakable, because I couldn’t get that contract without a code. Quite silly.

I only found out years later that you can get a temporary code from VID (Valsts Ieņēmumu Dienests– the State Revenue Service). Mūžu dzīvo, mūžu mācies!(Live and learn)

What would I suggest to students? If possible, to take advantage of the dual citizenship law – that will make life much easier for you. Also, constantly asking everyone any possible information. Just because something isn’t written on their website, doesn’t mean that you can’t apply. If I’ve learned anything in my time with the university, you can negotiate anything, if you have the guts to try.

How did you find a place to live, and how to arrange payments for utility bills? Was it easy to get through the bureaucratic red tape?

For the first semester of my studies I stayed with relatives. That gave me time to get over the culture shock, make some friends, and find my place in society. Soon enough I was looking for an apartment with a friend from school, who obviously knew the system much better than I did. It was great, because I got a crash course in where to look for apartments (try ss.lv for starters), how to haggle with owners, and how the utility payments work. She took care of the paperwork, as well. When she left for an exchange semester, I was well prepared to take on the challenge by myself.

How did you cope language-wise – did you feel you Latvian was strong enough to be able to settle in quickly? How did you get by with limited Russian?

When I had first decided to study in Latvia, part of my reasoning was “I already speak the language”. Only when I began to spend time with people my age did I understand how little I knew. Not only words, but expressions, and common rusicisms (da vai, točna, karoče, etc.). I was a while before I was able to confidently banter with other friends, and even longer still until my friends stopped interrupting me to mimic my accent.

I had little contact with Russian at all for the first year. My time was spent in very Latvian spaces. My relatives and then roommate only spoke Latvia, my studies only happened in Latvian, my classmates for the most part were Latvian, and my evening activity – Latvian folk dancing – was also obviously very Latvian. If I was approached on the street in Russian then I would calmly explain that I don’t understand, and then person would either switch to Latvian or move on to someone else. I never felt left out or at a disadvantage that I didn’t speak the language. It wasn’t until I joined the international youth organization called AIESEC that I became friends with ethnic Russians, but I’m thankful I did, because it challenged a lot of stereotypes that I had grown up with.

Tell me a bit about your first year in Latvia. How did you feel in the first year, then a year later? What did you learn most during that first year – about studying and daily life in Latvia?

The first year was certainly the most difficult year, as I assume it must be for anyone living abroad. I had the advantage of living with relatives, who showed me the ropes. But it also came with minuses – when living with relatives, you can’t exactly play host to all of your new friends very often without disrupting the pre-existing family dynamic. Creating a social circle I found to be the most important factor to feeling good in the city. As soon as I had my own apartment, my own kitchen in which to demonstrate my awesome lasagna-making skills, it was much easier to break down the barriers of the introverted and guarded Latvians. There’s something about cooking for others that forges trust and a strong bond.

Having scheduled social interactions also helped, like going to school and folk dancing rehearsals. I can’t imagine how lonely and depressing my first year (and winter!) would’ve been without this default set of friends.

My overall impression of the first year was that this is a place that does things differently than what we’re used to. This brings about a lot of introspection. On one side, I’m coming from a successful, prosperous country. Surely, that means that my way of doing things is better. On the other side, constantly reminding Latvians of “how we do things in Canada” is not the way to make friends. It also completely ignores local customs, culture, everything that comes with living abroad (be it good, or bad). The longer I’ve been here the more I’ve begun to question what’s “right” (hint: the answer is that not everything’s black and white). And then there are other things that obviously have to change (like the notion of civil responsibility, human right concerns, etc.). You end up treading a fine line between “when in Rome” and wanting to share your experience. I’ve found that the best option is to observe, accept, be tolerant, and quietly lead by example.

How long have you been living in Latvia, and what are you up to now?

This is my 7th year in Latvia. Right now I’m working for one of the biggest tech companies – the Draugiem Group. That’s the home to the Latvian social network Draugiem.lv, and also houses 16 other companies. I work with the companies that are geared towards a North American audience, helping out with text, emails, marketing campaigns, social media accounts, I write blogs, and generally just help them get attention internationally. The projects I work with are diverse. We have printing projects like Startup Vitamins, Behappy and Printful. We have a smart-home system called Istabai, and cool office tech tools like Welco, 1Work and Booktime.  Otherwise I also dance, both Latvian folk dancing and ballet, and I help out with the youth organization AIESEC whenever I can. Generally, I love taking advantage of the culture in the city.

image

Jūlija (on the right) with a friend at the Miķeldienas Market in October. Photo courtesy of Jūlija Gifford.

Vecpilsētas dziedātāji release debut winter solstice album

image

One of the CD releases that many Latvian folklore fans most look forward to is the bi-yearly Latvian folk music collection Sviests. Full of new recordings of songs that are, in both direct and indirect ways, inspired by Latvian folk music and folklore, the series is one of the most eclectic collections of Latvian folk music available.

A particularly notable entry in the series was Sviests 3 in 2009 and one of the most striking and memorable songs on that release was “Es stāvēju agru rītu”, performed by a group named Vecpilsētas dziedātāji, which featured beautiful vocal harmonies.

Fast forward to 2013 and Sviests V, and, once again, a standout track on the collection is one by Vecpilsētas dziedātāji, this time the song is “Māras dziesma”, again featuring the characteristic vocal melodies.

Having already made a name for themselves with these songs, the group set about recording their first full-length album. The result was Puzurs, a collection of songs with a winter solstice (“Ziemassvētki”) theme. In fact, a ‘puzurs’ is an ornament that is normally hung from the ceiling during winter solstice time, made up of multiple triangles, and meant to represent the sun and light.

Though the group is inspired and rooted in Latvian folklore, more often than not the compositions and lyrics are their own, and they consider themselves a ‘post folklore’ group. The ensemble is actually quite large, which allows for the creation of quite rich musical and vocal textures and tapestries, which is used effectively on the album. The group is made up of Vēsma Keire on vocals and flute, Māra Abaja on vocals and percussion and kokle, Dace Sloka on vocals and guitar, Solveiga Kaļva on vocals, guitar, kokle, and piano, Inese Neimane on vocals, stabule, percussion, Linda Zonne on vocals, accordion, kokle and Anastasija Sliša on vocals, with additional bass guitar performed by Mārtiņš Abajs.

Latvian folk songs and folklore always have a hint of mysticism, particularly in songs about winter, and the arrangement of ‘Ziemassvētku kumeliņi’ (folk song texts, music by Solveiga Kaļva) features these mystical elements, with the solstice horses running from mountain to mountain on their silver horseshoes. To add to the magical sense of the song, a flute solo by Vēsma Keire entrances the listener on this fantastic journey.

Many themes relating to the winter solstice are explored, and one of them is the practice of going ‘ķekatās’ (mummering); of going, in disguise, from house to house. The song ‘Ķekatas’ (words by Linda Zonne and Solveiga Kaļva, music by Kaļva) is about this practice, and the lyrics tell the stories of the mummers going through the fields and through gardens, bringing dances and blessings to all houses.

The solstices, rooted in mythology, are also about the interplay between the sun and the moon, and this theme is explored in the song ‘Saules kāzas’, with folk song texts set to music by Dace Sloka. Sloka, who also sings lead vocal, with her rich alto voice, bears an eerie resemblance to well-known Latvian folk singer Zane Šmite, giving this song about the wedding between the sun and the moon a particularly majestic sense.

One of the highlights of the album is the dreamy, nearly seven minute-long ‘Meža māte’ (folk texts set to music by Dace Sloka), a song glorifying the Forest Mother, about being in the forest in the middle of winter, transporting the listener to a deep forest of spruce and pine, and left to meditate in this enchanting environment.

The solstice is also a time for transition and transformation, as the shortest day has been reached, and now the days become longer on the journey to the summer solstice. A related symbol of transition is the mouse, which is considered to be an animal that travels between this world and the other world. This is reflected in the playful ‘Peles dziesma’, a story of how a mouse that was sent to steal peas hid in a cave to escape capture, and, over the course of the song, explains, in a question and answer form, how the mouse was able to survive this ordeal.

The CD booklet contains the lyrics to all the songs, as well as brief explanations of the meanings of the songs in both Latvian and English.

Puzurs is one of the most striking folklore related releases in recent memory. The girls in the group have brought together an impressive array of musical and songwriting talents to create an engrossing vision of winter and the solstice. Though steeped in folklore traditions, these are modern and contemporary interpretations of ancient themes, bringing together a magical picture of deepest winter and the spiritual significance of this time of year.

Vecpilsētas dziedātāji ondraugiem.lv and on Facebook

Details

Puzurs

Vecpilsētas dziedātāji

Riga:  Lauska,  2013

CD045

Track listing:

1. Ceļā

2. Ziemassvētki sabraukuši

3. Saules kāzas

4. Ķekatas

5. Mītiskais koks

6. Ziemassvētku kumeliņi

7. Čigānos

8. Vilks un kaza

9. Peles dziesma

10. Saimenieces dziesma

11. Meža māte

12. Dieviņš brauca

13. Vērpetes

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.

Accordion virtuoso Sidorova’s enchanting journey

image

The accordion is, without a doubt, a very popular instrument in Latvia. An essential aspect of most every countryside šlāger ensemble, the quaint sound made by air pushed through the instrument brings forth thoughts of evenings in French cafes or German beer gardens. Unfortunately, some might not consider the ‘accordion’ a serious instrument – relegated to being played by buskers on street corners.

However, as Latvians manage to excel at most every musical instrument they come across, it was inevitable that the accordion as well would finds its way into the hands of a talented musician, thereby joining the ranks of truly ‘serious’ instruments.  This musician is Ksenija Sidorova who has made quite a name for herself internationally performing the accordion.

Born in Riga, and encouraged to play the accordion at the age of five by her grandmother, Ksenija quickly made her way to the Royal Academy of Music in London, where she excelled with her accordion skills, winning many awards along the way.

In 2013, Ksenija released her second CD, Fairy Tales (her first CD was 2011’s simply titled Classical Accordion). Collecting a number of performances of works with themes of fantasy and the supernatural, Sidorova provides bravura performances with the ‘squeezebox’, making for an enchanting journey through fantastic worlds. Combining both solo performances, as well as performances accompanied by the BBC National Orchestra of Wales, conducted by Clark Rundell, the CD serves as an excellent showcase for the talents of this young musician.

One of the centerpieces of this recording is the seven movement “Fairy Tales Concerto” by Czech composer Vaclav Trojan. Going from the majestic in the sixth movement – “The Sailor and the Enchanted Accordion”, to the humorously frenetic fifth movement – “The Naughty Roundabout”, to the dreamy and romantic second movement – “The Sleepy Princess”, this series of fairy tales becomes a memorable way to allow Sidorova, using the accordion accompanied by the orchestra, to express a number of different of emotions and visions, creating a dazzling world filled with colorful characters.

The interplay between Sidorova and the BBC National Orchestra of Wales is on display in the performance of “Oblivion” by Argentinian composer Astor Piazzolla, and the recording also features violinist Thomas Gould. This sentimental and melancholic work closes out the CD, showing that Sidorova is not only adept at playing more ‘flashy’ works, but can also use the accordion to express a range of emotions and feelings in a more subdued environment.

The solo works also allow Sidorova’s talent to shine through. For example, “Caprice Espagnol” by Moritz Moszkowski, a lively Spanish-style work with many opportunities for fireworks. Also present on this CD is the “Scherzo” from Felix Mendelssohn’s ballet music for A Midsummer Night’s Dream. This work, originally intended to bridge the point in the ballet when the setting changes from the earthly to the fairy realm – bridging the earthly with the unearthly – gives Sidorova the opportunity to display her dramatic talents.

The CD booklet features an extensive write-up of the performer in English, and also of the chosen pieces and composers.

Raising the profile of the accordion within the world of classical music is one of Sidorova’s main goals, and Fairy Tales has done a quite remarkable job of achieving just that. From virtuoso performances to emotive melodies, the accordion in Sidorova’s hands becomes something quite magical and memorable, sweeping the listener away through varied unearthly landscapes. Fairy Tales confirms that both Sidorova, and the accordion should be placed among the elite in the classical music world.

Artist website: http://www.ksenijasidorova.com

Details

Fairy Tales

Ksenija Sidorova

CHRCD055

Track listing:

1. Moritz Moszkowski – Caprice Espagnol

2. Vaclav Trojan – Fairy Tales Concerto for Orchestra and Accordion – I. Let us Dance into the Fairy Tales

3. II. The Sleepy Princess

4. III. The Magic Box

5. IV. The Enchanted Princess, the Brave Princess and the Evil Dragon

6. V. The Naughty Roundabout

7. VI. The Sailor and the Enchanted Accordion

8. VII. The Acrobatic Fairy Tale

9. Artem Vassiliev – Who’s the Puppet?

10. Edvard Grieg – Holberg Suite – I. Praeludium

11. II. Sarabande

12. III. Gavotte

13. IV. Air

14. V. Rigaudon

15. Felix Mendelssohn – Scherzo from a Midsummer Night’s Dream

16. Petr Londonov – Scherzo-Toccata

17. Astor Pizzolla – Oblivion

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.