Eesti Rahva Muuseumi 100 aastat:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Estonian |
| Veröffentlicht: |
Tartu
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Rezension |
| Beschreibung: | 455 S. zahlr. Ill. |
| ISBN: | 9789949417490 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804138927556132864 |
|---|---|
| adam_text | KARIN KONKSI
ETNOGRAAFIAMUUSEUMINA NOUKOGUDE EESTIS
1957-1991 250
— PÄRAST
JUUBEL.IT.
1960.-1980.
AASTAD ERMIS
272
—
ETNOGRAAFIAMUUSEUM JA TEADUS
287
—
EESTI ETNOGRAAFIA
287
—
SOTSIALISTLIK KAASAEG
311
—
SOOME-UGRI RAHVAD
327
TO1VO
SIKKA
PLAANIDEST PROJEKTIDENI. MUUTUSTE AEG
358
—
TAAS AJALOOL1SE NIMEGA
358
—
TEEVALIKUD
JA -KAASLASED
361
—
OMA MAJA
364
— NÄITUSEMAJA 371
—
KOGUD
388
—
UUED JA
VANAD
TEADUSPÕLLUD.
TEADUSTÖÖ 393
AGNES
ALJAS
TASAKAAL JA
DIALOOG
410
— UUE HOONE
ARHITEKTUURIVÕISTLUS
412
— UUE HOONE PROJEKTEERIMINE 417
— MUUSEUM KUI KULTUURI PÜSIMISE
GARANTII
423
— RAHVAKULTUURI UUS
TULEMINE
426
— MUUSEUMI LÄHIMINEVIKU DIALOOGIS 430
— KULTUURIDE MUUSEUM 434
— AUDITOORIUM JA KOOSTÖÖ 438
SUMMARY
444
ISIKUNIMEDE REGISTER 450
KARIN KONKSI
ETNOGRAAFIAMUUSEUMINA NOUKOGUDE EESTIS
1957-1991 250
—
PÄRASTJUUBELIT.
1960.-1980.
AASTAD ERMIS
272
—
ETNOGRAAFIAMUUSEUM JA TEADUS
287
—
EESTI ETNOGRAAFIA
287
—
SOTSIALISTLIK KAASAEG
311
—
SOOME-UGRI
RAHVAD
327
TOIVO
SIKKA
PLAANIDEST
PROJEKTI
DENI.
MUUTUSTE AEG
358
—
TÅAS AJALOOLISE NIMEGA
358
—
TEEVALIKUD
JA
-KAASLASED
361
—
OMA MAJA
364
—
NÄITUSEMAJA
371
—
KOGUD
388
— UUED JA
VANAD TEADUSPOLLUD.
TEADUSTÖÖ 393
AGNES
ALJAS
TASAKAAL JA
DIALOOG
410
~ UUE HOONE
ARHITEKTUURIVÕISTLUS
412
— UUE HOONE PROJEKTEERIMINE 417
— MUUSEUM KUI KULTUURI PÜSIMISE
GARANTII
423
~ RAHVAKULTUURI UUS
TULEMINE
426
— MUUSEUMI
LÂHIMINEVIKU DIALOOGIS
430
— KULTUURIDE MUUSEUM 434
— AUDITOORIUM JA KOOSTÖÖ 438
SUMMARY
444
ISIKUNIMEDE REGISTER 450
444
SUMMARY
pírét
õunapuu
INTRODUCTION
The birth story of the Estonian National Museum (ENM) was long and pain¬
ful. The idea of an Estonian museum was born and developed alongside the
evolution of die Estonians self-consciousness. This long process can be consid¬
ered to have started already in the first decade of the 19th century, when mu¬
seums, which were, above all, strictly academic collections, were founded at the
University of Tartu. The material basis, from which the Estonian National
Museum grew out, originated from the collections and experience of several
associations. The oldest of them was the Learned Estonian Society, which was
founded in
1838,
and the second one
-
the Estonian Students Society (ESS)
established in
1870.
The initiator of the idea was
folkbrist Dr. Oskar Kallas,
and the example followed came mainly from Finland.
IDEA BECAME REALITY
The direct incentive for the foundation of the Estonian museum was the death
of Dr. Jakob Hurt, an Estonian luminary and folklore collector, who had wished
that the treasures collected from among people should be left in their posses¬
sion. After a few years of preparatory work the first official meeting was con¬
vened on April
14, 1909 —
the date that is now considered as the birthday of
the museum.
The work mainly consisted in collecting old items. During the first seven
years about
170
volunteers collected approximately
20 000
objects from all over
the country. Besides that, the library acquired from the ESS was converted into
die Estonian Archival Library.
In order to introduce the museum idea, speeches were made and exhibitions
were organized. Money came in from the membership fees of the museum as
a society, as well as from donations, later on also from selling publications and
postcards. The chairman of the museum board was
Oskar Kallas.
The museum
worked due to peoples enthusiasm; the first paid worker was employed only a
few years later.
The people who established the museum were real enthusiasts in the field;
yet, they were all top-ranking in their main profession: the leader of the collec¬
tion committee
Kristjan
Raud
-
an artist,
Karl Eduard Sööt -
a writer, etc. The
first ten years of the museum were dynamic; heritage collecting was initiated
and the museum idea was introduced to the general public. Despite the lack
of specialty staff, a sound basis was laid for the national museum.
SUMMARY
445
NATIONAL MUSEUM IN A NATION STATE.
marleen
nõmmela
ESTONIAN NATIONAL MUSEUM IN
1920-1940
After World War I and the War of Independence Estonian territory became
independent. The history of the Estonian National Museum (ENM) during
the period of the Estonian Republic abounded in changes, self-defining and
remarkable progress, but also constant concerns related to money, space and
labour deficiency. Yet, the museum managed to get into its possession the
Raadi Manor, which offered possibilities for better collection placement and
provided a larger space for exhibiting Estonian folk culture than ever before
(permanent exhibition in
1927).
In the
1920s
the development of the ENM
as a research establishment gained impetus due to the activity of the Finnish
ethnographer
limari
Manninen,
who was the director of die museum and also
worked as associate professor of ethnography at the University of Tartu. He laid
a basis to Estonian ethnology and trained the first generation of researchers in
this field (F. Linnus, G. Rank, H. Kurrik, etc.). On his initiative the system of
collection division was established, which has survived until today. These were
the decades when several monographs on Estonian folk culture as well as stud¬
ies treating of its different aspects (folk costumes, fishing, apiculture, etc.) were
published. Also a more systematic basis was laid to the research into Finno-
Ugric cultures, collection supplementation and exhibiting work (exhibition in
1928).
However, the ENM was not a solely ethnographical museum. In addi¬
tion, the establishment comprised an art department, a national archival library,
the Estonian Bibliographical Institution, the Estonian Folklore Archive (begin¬
ning from
1927)
and the Estonian Cultural-Historical Archive (beginning from
1928),
due to which the museum became the bearer of national identity on a
large scale. The fact that the museum had become a recognized memory insti¬
tution by the
1930s
was greatly supported also by contacts with foreign coun¬
tries, both in exchanging scientific literature, participating in study and research
trips and conferences and also through -organizing several exhibitions outside
Estonia.
By collecting and preserving national heritage and, above all, by offering
people a national narrative about this heritage, the ENM and its different
departments worthily fulfilled, the role of the national museum.
446
SUMMARY
EEVl ASTEL ESTONIAN NATIONAL MUSEUM IN
1940-1957
The years
1940-1957
were unstable and full of dangers for the Estonian
National Museum (ENM). The period started with alternating occupations,
political terror, Estonia being a battlefield and evacuation of collections due to
the latter. Also, this was the time when collections were significantly supple¬
mented, redistributed and relinquished. Essential changes also occurred in the
staff of the museum. A somewhat more favourable period started only in the
mid-1950s.
On November
1, 1940,
the ENM was divided into two parts: the State
Ethnographic Museum (further on the ENM) and the State Literary Museum.
In
1940-1941
the collections of the ENM were supplemented by the materials
of the Baltic Germans who had fled Estonia, the ones from the expeditions
organized to the areas that were relinquished to the bases of the Red Army, as
well as the collections of the organizations liquidated by the Soviet power and
those of the Tallinn Estonian Museum. During the German occupation mate¬
rials were collected about
Votic
territories. The main task was to protect our
cultural heritage from war destruction. In
1944
museum assets were evacuated
to different places outside Tartu. The main initiator was
Gustav
Rank. The
museum building at Raadi was destroyed in the war. One of the best-preserved
stone houses in Tartu
-
a former courthouse in Veski Street
-
became the new
home for the museum, and all collections were assembled there.
The museum was reopened to visitors at the end of
1945
with an exhibition
entitled Estonian Peasant Handicraft . Collection and research work was
continued. In
1946
the ENM was subordinated to the Academy of Sciences.
Harri Moora
became the supervisor and coordinator of work at the ENM. Yet,
the ideological pressure increased and in
1950
the basic staff of the ENM was
fired. The museum started cooperation with Moscow-centred research
establishments. All essential guidelines for work also originated from there.
Cooperation within the framework of the Baltic ethnographic-anthropological
expedition was fruitful. The research topics were folk costumes, buildings,
agricultural tools, etc. Quite a noteworthy job was the compilation of the
album Estonian Folk Costumes from the 19th and the Early 20th Century .
The album was published in
1957.
The museum staged several exhibitions,
above all, those related to folk art, in its own house and also in Tallinn, Lenin¬
grad and Moscow.
SUMMARY
447
In the early
1950s
attempts were made to diminish the importance of the
ENM as an essential museum for Estonians. Collections were relinquished
proceeding from both the essential and ideological point of view. Artefacts of
foreign people, cultural-historical items, the art collection, photographs and
books were handed over to the History Museum, the Tallinn Art Museum, the
Literary Museum, and the Library of the University of Tartu.
ESTONIAN NATIONAL MUSEUM IN
1957-1991
karín konksi
By the end of the
1950s
a certain political stability had been achieved in
Soviet Estonia and under more peaceful circumstances the activity of local cul¬
tural and research establishments started to recover. The Estonian National Mu¬
seum (ENM) continued as an ethnography museum: in
1952—1963
under the
name of the Ethnographic Museum at the Academy of Sciences of the Estonian
SSR,
and after that as the State Ethnographic Museum of the Estonian
SSR,
until the original name of the ENM was restored in
1988.
After World War II
and the hardships foHowing this, the late
1950s
marked, in a certain way, a new
beginning for the ENM. The management of the museum was renewed and the
staff was supplemented, large-scale collection work was started again, and with
the events and publications dedicated to the 50th anniversary, the museum was
able to prove itself in the field of research as well. The extensive collection work
that was started in
1957
remained the main objective of the museum throughout
the whole period under discussion. Initially it was aimed at the museological
preservation of the old Estonian peasant culture; later on, in the
1960s,
it was
expanded and covered also working class and contemporary kolkhoz culture. At
the same time expeditions to other Finno-Ugric peoples started, which provided
a solid basis to todays exceptionally representative Finno-Ugric collections. As a
novel feature, film was taken into use at fieldwork, as well as sociological question¬
naires for the documentation of the period. Scientific research, however, remained,
as a rule, true to traditions, and continued typological studies of older, above all,
material peasant culture in the spirit of the initial years of Estonian ethnology. As
well as extensive collection work and increasing collections, the period in
question was characterized by the shortage of depository space, which in
1970
resulted in closing down the permanent exposition. The majority of the exhibi¬
tion activities of the ENM started to take place outside the museum, and apart
from that, contacts with the general public were tried to be maintained through
the media and numerous publications.
448
SUMMARY
TOIVO
síkká
FROM PLANS TO PROJECTS
The museum as an institution is fortunate to be in the vanguard of social
changes. In March
1988
the museum retrieved its former name
-
the Estonian
National Museum.
At that time the selection of a location for the new museum building and
its construction were on the agenda, and the idea to restore the museum at
Raadi was left aside. The first prize at the architectural competition was awarded
to the project
Põhja Konn
(Northern Frog), which envisaged the building of
the new museum on the slope of Toome Hill.
In
1994
the Exhibition House of the Estonian National Museum was
opened in the former railway workers clubhouse with a novel permanent exhibition
Estonia. Land, People, Culture . Besides these two highlights in the celebra¬
tions of the 85th anniversary of the ENM a third one should also be mentioned
-
the foundation of the society called Friends of the Estonian National Museum.
From this time on the ENM has become much more visible in society.
Estonian and Finno-Ugric spheres remained as the main research directions;
yet, a new approach was adopted. Attention started to be focused on the 20th-
century everyday culture. In addition to this, repressions and collective mem¬
ory, issues of the internet and information society, leisure, traditional cultural
heritage, Estonian settlements in the East and Estonians in the West, religious
life, and history of the ENM were studied; also, object research was continued.
Many of the projects were carried out in cooperation with the University of
Tartu and were financed by the Estonian Science Foundation. Besides film¬
making, a festival of ethnographic and documentary films started to be orga¬
nized from the year
2004.
In the same decade the ENM joined the KVIS (Information System of
Cultural Heritage) programme.
Under the circumstances where the building of a new house in the vicinity
of Toome Hill had failed and die museum was obliged to move its possessions
from the depositories at the churches of St. Alexander and St. Paul, the build¬
ing of new depositories was started at Raadi in
2000.
This, in its turn, facili¬
tated the rediscovery of Raadi as a location for the new building.
SUMMARY
449
BALANCE AND DIALOGUE Agnes
aljas
In the years
2006-2009
the development of the Estonian National Museum
(ENM) was, above all, directed by the museum s wish to increasingly commu¬
nicate with the general public on the topic of Estonian cultural diversity and
spirit of nationality.
At the beginning of
2006
the results of an architectural competition for a
new museum building were announced, the winner of which was the prelimi¬
nary design entided Memory Field (authors
-
architects Dan Dorell,
Lina
Gho-
tmeh and Tsuyoshi
Tane).
The architects envisaged the objective of the building
on the territory of the former Soviet military airfield at Raadi to be rendering a
new meaning to me place and creating an open communication environment
for different audiences. Several public discussions were held about the new loca¬
tion of the ENM as well as the role of the museum in society, which emphasised
the significance of the ENM as the carrier of national memory and identity.
The year
2007
saw the beginning of design work as well as planning of the
ENM activities for the new 30,000-square-meter museum building. The orga¬
nization of new permanent exhibitions about Estonian culture and Finno-Ugric
peoples was in the centre of attention. In addition to that, the activity of new
institutions was planned, a competence centre for preservation and conserva¬
tion was established on the basis of the ENM and the Information Centre for
Folk Culture was founded. The museums main research areas were focused on
the study and documentation of everyday life and contemporainety in the
Soviet Estonia period as well as the way of life of emigre Estonians communi¬
ties and Finno-Ugric peoples. Within the framework of a film festival Maail-
mafilm (World Film) the ENM improved the visual recording of culture, col¬
lection of digital materials and introduction of world cultures.
Throughout a hundred-years, strong identity, science-centeredness, rich col¬
lections and public support have given an impetus to the ENM for constant
development. The would-be new building, which today has become more re¬
alistic than ever before, adds new perspective to the 100th anniversary. If every¬
thing goes as planned, the ENM will open the doors of its new building to its
visitors in the autumn of
2012.
|
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| subject_GND | (DE-588)1015637-9 |
| title | Eesti Rahva Muuseumi 100 aastat |
| title_auth | Eesti Rahva Muuseumi 100 aastat |
| title_exact_search | Eesti Rahva Muuseumi 100 aastat |
| title_full | Eesti Rahva Muuseumi 100 aastat [Eesti Rahva Muuseum. Koostaja: Piret Õunapuu] |
| title_fullStr | Eesti Rahva Muuseumi 100 aastat [Eesti Rahva Muuseum. Koostaja: Piret Õunapuu] |
| title_full_unstemmed | Eesti Rahva Muuseumi 100 aastat [Eesti Rahva Muuseum. Koostaja: Piret Õunapuu] |
| title_short | Eesti Rahva Muuseumi 100 aastat |
| title_sort | eesti rahva muuseumi 100 aastat |
| topic | Eesti Rahva Muuseum (DE-588)1015637-9 gnd |
| topic_facet | Eesti Rahva Muuseum |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017388937&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017388937&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ounapuupiret eestirahvamuuseumi100aastat AT eestirahvamuuseum eestirahvamuuseumi100aastat |