Date of publishing:
29.3.2014
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Abstract:
The aim of this comparative research was to map the emergence of folk dance groups, and to assess the role of folk dance in preserving Estonianism among Estonians in exile. For Estonians, their national format became the politically correct form of self-expression. For long decades this form, comprising folk costumes, songs and dance festivals in a national romantic spirit, and originating from the period of national awakening, has suited Estonians. Such self-expression took over the role of specific self-definition and selfempowerment during several politically critical periods. Folk songs, dances and costumes, were like roots from Estonian soil for Estonian refugees after World War II, and helped them to cope in their new environments. The hobby activities of Estonians in post-war refugee centers may be viewed as essential ground for self-restoration and self-preservation. A special focus was made on the activities of Estonian refugees in Sweden and Germany. For data collection, unstructured interviews and conversations were used. According to the eco-cultural model of intergenerational relations by Trommsdorff (2009) the maintenance of the Estonian folk dance tradition is analysed through three themes describing 1) categories, related to the folk dance practices – process, direction and outcome; 2) factors affecting the practices – persons who were involved in the transmission process, their respective relationships, the contents that were transmitted, and the wider context in which transmission took place; 3) perspective – the current state and possible fostering and inhibiting factors of the maintenance of the Estonian folk dance tradition in Germany and Sweden.
Keywords
Estonian expatriate;eco-cultural model;transmission of folk dance, traditions;identity;comparative research
Article Text