Oral history aids understanding, acceptance

Stories in spoken form have been told in societies in generations past, but the organized effort to collect personal commentaries in Latvian has a much shorter history.

During the years of occupation, people were silenced. No one dared to talk about the occupation or their feelings, hopes and dreams. The only truth was Soviet propaganda.

With the advent of glasnost in the 1980s, a few historians in Latvia began to recognize the need and urgency for the collecting and preserving of stories from those Latvians whose voices for the last 50 years had not been heard , but who had witnessed the horrible events in their own lifetime. Even to this day, some of the latest history books do not reveal the true and accurate information of those years. However, the testimonies collected do collectively represent life as it was lived, perceived and experienced by common people of all walks of life. These stories will aid the historians in their work of historical reconstruction.

About the same time Latvians abroad also recognized that our experiences will be lost for the future generations. Even the children and grandchildren of those who left our homeland as youngsters are not familiar with the past experiences of their ancestors. The war years and life in the Displaced Persons camps in Germany is part of our history, but this period has been very poorly documented. The circumstances of immigration—to America, Australia, Canada, Sweden, England, Venezuela, and elsewhere—in the late 1940s and early 1950s is understood by only a few. The first few months in a strange country with a different culture were difficult and overwhelming. Life stories of these strange times can be very revealing and very important.

In the United States all subcultures—ethnic or otherwise—are increasingly being assimilated. Recording the voices of those who balanced their lives, became citizens of another country while remaining deeply rooted in their own unique ethnicity, is a most important task. Because Latvia is once again a free country, all Latvians need to be reacquainted. Exchange of a truthful information once again is possible; we can begin the healing process of understanding and acceptance. Our life stories will help us to build the bridges across oceans and time.

In mid-1980s a project in Latvia was developed by Māra Zirnīte to collect life narratives in an oral history archive, later known as Nacionālā mutvārdu vēstures projekts (Latvian National Oral History) collection. The work slowly proceeded and by 1995 it had moved to the Latvian Academy of Sciences and consisted of some 350 narratives.

Oral history collects spoken memories and personal commentaries of historical significance through recorded interviews. Oral history is a collaboration between the narrator and the interviewer. These recorded stories are then transcribed, summarized, indexed and placed in archives.

It was soon recognized that more work needs to be done and it has to be done with limited financial and human resources. Under the tutelage of Maija Hinkle and Inta Carpenter from Indiana University and Augusts Milts and Māra Zirnīte from the University of Latvia, plus the financial support mostly from the Latvian Foundation Inc., a program was developed that involved volunteers both from Latvia and abroad participating in oral history expeditions.

Every summer since 1996 a total of 146 trained volunteers (about a third from abroad) and staff members, after receiving training in several day-long seminars, have participated in week-long field work expeditions of gathering life stories in different regions of Latvia. The Latvian National Oral History collection now has more than 1,500 audio life narratives, including those collected in United States and other countries. Data collection continues. Many narratives have been already transcribed and have been authorized by the authors for use in further research. Short summaries of 30 narratives can be found on the project’s Web site.

For those of us who have had the patience and genuine interest in people, the opportunity to participate and work in Latvia has been a humbling experience. Not only did we help to document people’s life stories, but it enriched our own lives. We heard stories of unthinkable suffering, of inner strength, of physical endurance. We also learned from the eyewitness accounts about life under the Soviet regime.

In 1996, the American Latvian Association began to support the work of documenting the exile experience. The gathering of oral histories became a funded project. The goals were to record life stories from as many American Latvians as possible, to make these stories available to students and scholars in Latvia and elsewhere, and to add their experiences to the Immigration History Research Center at the University of Minnesota.

Volunteers in the United States are trained in 3×3 culture camps, lectures and special seminars, mostly conducted by Hinkle, who is the project coordinator for American Latvian Association. Those of us who have been participating in fieldwork in Latvia have gained ample experience and are continuing to volunteer our time in recording Latvian stories in the states. Several Latvian oral historians are members of the American Oral History Association, which organizes national conventions with opportunities to learn from the most distinguished names in the field.

Thus far in United States 115 potential volunteers have been trained. Of those, 32 have participated in interviewing and have recorded about 115 life stories. Interviewers in their communities choose the narrators. We select people who are older, are good story tellers and who have had unique experiences. Generally we allow the narrators to tell their story as they would like, but there are several topics that we try to cover. We are specially interested in their experiences during World War II and their life in Displaced Persons camps. Very little information about the immediate post-war period is available in historical records.

We also ask about their relationship with present-day Latvia, their feelings of belonging, their ideas of "home," their dreams and disappointments.

Most interviews are about two to four hours long, but many are much longer.

We also have developed special projects. For example, people who live in the Latvian village "Ciems Latvija" in Michigan were given the opportunity to talk about their life experiences and their desire to spend retirement years in an ethnically homogeneous community. These stories can convey personalities and explain motivations for choices in life.

Many Latvian emigres in the United States have been almost totally integrated into the American society. However, some—mostly those now aged 65 or older—have lived their social lives exclusively among Latvians. They read Latvian books, they support each other, and educate their children in special Latvian schools. "There is no need, or room, for strangers," explained one interviewee.

But most of those interviewed also recognize that the life of their children will be different.

Typical is a story from an older gentleman who chose not to pursue his previous profession in Latvia. He began his career in America as a church custodian. There he was extremely well respected, set an example for the whole church community, and was employed in the same church for 37 years. As a deeply religious person, he thanks God for the life he has been able to live. The main reason for his choice of work was his free time, which he could devote to the Latvian community service.

But another interviewee, a woman who also was a devoted Latvian activist, was critical of the Latvian community. She said she felt the Latvians have not given the younger generation a feeling of belonging. Too many from the old school have been critical, she said, and young people have not been able to find a meaningful role amongst their own people.

Such and similar stories will be preserved. We consider these stories a gift and we are grateful to receive them. Scholars and researchers in years to come, hopefully, will be able to study, compare and identify the values, the strengths and weaknesses of the Latvians in the different parts of the world in 20th Century.

Dzīvesstāsti Web site

The Latvian National Oral History project has a Web site with background on collection efforts and samples of some life stories.

A mellow album that’s not for the birds

Putni maina virzienu

The musical output of Latvia has become more and more varied through recent years. Beyond the standard styles of rock and folk, other styles like dance, techno, rap, and rhythm and blues have been heard being played by Latvian groups. Some styles are particularly hard to define. One example is the group Kopējā izteiksme and their release Putni maina virzienu. One would be quick to label it as "New Age," but it does not fit neatly into that category.

It is an entirely instrumental album, full of textured sounds and many different kinds of instruments. It is very heavy on synthesizers (maybe a bit much so), but a varied lineup of musicians keep the album from sounding overly synthesized. It is also very atmospheric, complete with ocean sounds. Much of the music sounds like it belongs in a film sountrack.

The main musicians in Kopējā izteiksme are Jānis Brūveris (on keyboards and programming, as well as composer of eight of the 11 tunes on the album), and Ainārs Paukšēns (also on keyboards and programming, as well as the cello). Joining them are Michael Nagy on acoustic guitar, Juris Kulakovs on accordion and Artis Gāga on saxaphone. Also appearing is a string quartet, made up of Lāsma Muceniece on violin, Signe Šteimane on violin, Jānis Lielbārdis on viola and Paukšēns on cello.

As with many "New Age" groups, Kopējā izteiksme’s music is very influenced by nature. One of the main themes of the album is about birds, their ability to know where to fly when they migrate and how they know where to return to.

Of note is that there is nothing particularly "Latvian" about the music, besides the fact that it was produced by Latvian musicians.

The album opens up with "Tuvums," which starts off with a very pretty introduction on acoustic guitar.

The song "Pirmais gads" reminds me a bit of the music of the Indians of South America (the kind who always seem to be playing in the Times Square subway station), mainly due to the synthesized, flute-like sound.

"Sniegs (akustiskais mix)" with its piano theme, is a particularly haunting song, simple but eerie. It reminds me of the theme to the Halloween horror movies. The strings provide a nice balance to the piano melody.

This theme returns in "Sniegs (paplašinātais mix)," which for the most part is simply an extended version of the original, but diverges near the end, where bass and drum sounds are added.

My favorite track on the recording is probably "No sevis sāc," perhaps because it sounds more like an actual "song" (but without words, of course) and has a melody that can be hummed along with. I particularly like the way the acoustic guitar sounds in it.

The album packaging is on the simple side, with the obligatory nature pictures in it. Text relating to the theme of the album asks Zen-like cosmic questions such as "Kur putni maina virzienu? Tu zini? Un kāpēc? Tu zini? Pastāsti man!" (Where do birds change direction? Do you know? And why? Do you know? Tell me!)

Putni maina virzienu is a great-sounding album, full of many styles and textures. It is a pleasant listen when one needs more mellow music to relax with. Listening to this music will make people light up their incense and start meditating. But it is not the kind of recording that I would buy. Listening to the album made me sleepy (but perhaps that is one of the intentions of the artists). Enough variety is on the album for fans of this genre, though it does seem at times that a few of the pieces on the album start to sound very similar.

As with many of these kinds of recordings, the human aspect is missing. The music sounds very "mechanical" at times, as though it was entirely performed by a machine (which I’m sure a lot of it was, because both Paukšēns and Brūveris are credited with “programming”). However, if you like your music atmospheric and heavy on the synthesizer sound, then you will most likely like Putni maina virzienu.

Details

Putni maina virzienu

Kopējā izteiksme

Latvijas Radio,  2000

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.

Sixteen songs from a national treasure

Dziesmu izlase

Imants Kalniņš is one of the most beloved composers in Latvia. His music is listened to and appreciated by all types, whether they are casual music fans or devout music theorists. What is it about his music that seems to strike a chord within most every Latvian? Perhaps it is the variety of styles he can compose in, or how his music can convey just about any emotion—from happy rejoicing to being stranded in sadness to exuberant nationalism.

The past few years have seen Kalniņš once again take center stage in the public musical eye. Popular works in recent times include the re-recording of the film score to the movie "Pūt, vējiņi!" and the success of the rock group Autobuss debesīs, whose music was composed entirely by Kalniņš.

This year also saw the release of the retrospective Dziesmu izlase, containing an assortment of his popular music, recorded by the many artists who have worked with Kalniņš’ music throughout the years: Menuets, Turaidas roze, Jauns Mēness, Aigars Grāvers of Jumprava, and Renārs Kaupers of Prāta Vetra.

The disc conntains 16 tracks, compiled by Kalniņš and Ainars Mielavs. Coincidentally enough, seven of the 16 songs are songs that involve either Mielavs or his dormant group, Jauns mēness. But no matter…

The album starts off with two songs by Menuets, "Viņi dejoja vienu vasaru" and "Alvas zaldatiņi," both of which have lyrics by Māris Čaklais. The first song is a very pretty but sad piece about two lovers who had a brief romance. The chorus to the song reminds me a bit of "Memory" by Andrew Lloyd Weber. "Alvas zaldatiņi" (Tin soldiers) is one of Kalniņš’ more popular songs. It is a "military" style song about children who are playing with tin soldiers. It also offers the advice that "a dead Napoleon should be buried so he doesn’t smell, but a cat should be fed with warm milk"!

Another group that played songs by Kalniņš was Turaidas roze, and they have four songs on this release : "Svētku diena," "Nelaid, māte, bērnus mežā," "Apvij rokas" and "Mežā." Of the four, my favorite is "Svētku diena" (for which Kalniņš also wrote the lyrics), a celebratory song about the return of a loved one: "Every time that you are next to me is day of celebration!"

Another favorite on the album is "Es šodien jūku prātā," featuring Jauns mēness and lead vocals by Renārs Kaupers. I especially like the mandolin part, as well as the lyrics by Mielavs: "Nav vērts ja tikai tāpat par velti zvaigznes krīt" (It’s not worth if it if the stars fall for no reason).

Many of Kalniņš’ compositions are richly textured, a good example being the very beautiful song "Es redzēju sapnī," with its very lush keyboard part. It is almost symphonic in its style, and it is complemented well by Mielavs’ vocals. However, the very next song, "I Love You," is a straight ahead rock song that makes the listener want to sing along with its very simple but effective chorus in English, "I love you, do you love me too?"

The new "sensation" in Latvian music these days is Autobuss debesīs, who had the honor of closing out the day of rock music at the Rīga 800 festival on Aug. 18 (they played right before the amazing fireworks display). Part of the reason the are so popular is Kalniņš’ music. The group’s lead singer is Marts Kristiāns Kalniņš, the composer’s son. Dziesmu izlase contains two Autobuss songs, neither of which are on their album Logs puspavērts. They are "Sitiet bungas, mani mīļie" and the song called "Autobuss debesīs," another favorite of mine on this record. The lyrics for both songs were written by Viks (just Viks—no other name given!). The Autobuss songs are also a good example of how Kalniņš is capable of writing music that appeals to a younger generation. Kalniņš truly has cross-generational appeal.

The final song on the album, "Apturi mani," is a beautiful duet between Ainars Mielavs and Rēzija Kalniņa (who, besides being a well-known Latvian actress, is also Imants Kalniņš’ daughter).

Of course, you couldn’t possibly fit all the great Kalniņš songs onto one CD. One song that I particularly missed on this release was "Veltijums LTF" (dedicated to the Latvian Popular Front), probably my favorite Kalnīņš song.

The major disappointment in this release is the packaging: besides the CD cover, there isn’t any! You’d figure that with an artist with the popularity of Kalniņš, UPE Recording Co. could have at least included the lyrics and maybe a bit of history about each band (what albums they released, who were the members of the band, etc.) since it is not just Kalniņš music itself that is important. Besides, Kalniņš being such an interesting person, a bit of biographical information wouldn’t have hurt either. For those interested in more about Kalniņš the composer, I would recommend reading the book Jaunā mūzika pēc divdesmit gadiem by Ingrīda Zemzare and Guntars Pupa.

This CD is essential listening for anyone interested in Latvian music. There is good reason Kalniņš is considered a national treasure, and this CD goes a long way in confirming that standing.

As for the lyrics being absent, I think a Latvian friend of mine had the best explanation for that. "Why would you need the lyrics?," she asked. "These songs are already such a part of the Latvian culture that everyone knows all the lyrics by heart anyway!"

Details

Dziesmu izlase

Imants Kalniņš

UPE Recording Co.,  2001

UPE CD 027

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.