Different cultures similar people "Unity in Diversity" Important people of Estonian culture

Estonian culture is for a little more than one million people. The first signs of Estonian national consciousness appeared already in the 19th century when Estonian people started to turn back to their own language and culture. Since then, there have always been outstanding cultural figures in Estonia. Many of them have been engaged in the research of local myths and legends, which were often handed down from generation to generation only orally. Under the title of Kalevala a collection of 20 songs was published about the long history of oppression in Estonia and the almost hopeless fight for freedom led by Prince Kalevipoeg. This epic is today considered one of the most important works in the independent Estonian literature. Some of the internationally best-known authors of this period are the poet Juhan Liiv (1864-1913), the dramatist Eduard Vilde (1865-1933) and the novelist Oskar Luts (1887-1953). Presently, the most famous author of the country is Jaan Kross (born 1920) who has written a number of successful novels. His very detailed descriptions of the living conditions and the diverse landscape in Estonia are considered to be part of the most important literary works of these days. Accordingly, his works are available in more than 20 different languages. Further important components of traditional and contemporary arts are painting, theatre and music. Johann Kler, (1826-1899) who was a former professor of the Arts Academy in Saint Petersburg is today considered to be a precursor of the Estonian painting. Famous artists in the area of music are Rudolf Tobias (1873-1918), Artur Kapp (1878-1952) and Eduard Tubin (1905-1982). These are only some, who are still known in the world today. Estonia's greatest writers are Anton Hansen Tammsaare, Eduard Vilde, Marie Under, Betti Alver, Friedebert Tuglas and Karl Ristikivi. The Estonian author most well known throughout the world is Jaan Kross. The most popular contemporary authors are Jaan Kaplinski, Andrus Kivirhk and Tnu nnepalu. World-famous conductors include Neeme Jrvi and Tnu Kaljuste, while composers Arvo Prt, Veljo Tormis and Erkki-Sven Tr are well known abroad. At an institutional level, there are many private initiatives such as small theatres, dance groups and especially publishing houses. Estonians like theatre and go to see a play at least twice a year. A large number of cultural institutions such as theatres, museums and libraries are financed by the state, as are cultural periodicals, whose editions are very large, given the size of the population. Cultural efforts are supported financially by the Kultuurkapital fund, which derives its revenue from duty on the sale of alcohol and on gambling. As well as society as a whole, generations have changed since the early 1990s and this evolution has not always been painless. The aims of society have changed. The task now facing us is to ward off globalisation and guard against the whims of market forces so as to keep our own national culture retain our specific cultural features even as a Member State of the European Union.

Estonian architectural works

The history of Estonian professional architecture is short. Estonian society has had countless external influences; foreign craftsmen have adopted influences from local society, and vice versa. It is now hardly possible to guess where exactly the borderline is between the architecture of the conquerors and the Estonians. Local Gothic is unique in northern Europe: a bit rough, simple and straightforward. The adopted styles in buildings are reflected in the reduced, sober and calm manner, be it Medieval churches, Renaissance details, Baroque castles, Classicist manor houses, Art Nouveau villas or Functionalist constructions. In the course of centuries, the whole of Estonian architecture has been repeatedly destroyed and then rebuilt. Estonias major towns are all of Medieval origin, mostly erected on the stronghold sites built by Estonians. The Tallinn Old Town with its numerous towers, high circular walls and picturesque moats shaping the towns general vista has been included in the UNESCO World Heritage List. The Medieval heart of the town has always been a living organism and everyday living environment and it will remain so until the ever more strict regulations turn it into a museum. Professional Estonian architecture emerged as late as the beginning of the 20th century, together with the rise in national self-awareness when the first Estonian architectural firms appeared and started looking for their own Estonian style. The architecture created during the period of the first Republic of Estonia (1920 1940) will forever hold a special meaning. All major architects adopted Functionalism, to a greater or lesser extent, most prominently displayed in the architecture of villas . Herbert Johansons limestone Functionalism can be regarded as a uniquely national phenomenon limestone as the building material of Modernist houses gives Estonian Functionalism, which closely followed international architecture, an original, Nordic and more forceful image. This basis helped Estonian architecture to survive the drastic changes of the mid-20th century, the history of Estonian architecture continued under the occupation of the Soviet Union. With the arrival of the 1960s politi cal thaw, Estonian architecture acquired an international style. Nearly all the ideas prevailing in Western architecture were duly realised here. For architects, however, this meant a transition from Soviet euphoria to quiet opposition socialism easily took over all that was negative in international experience (strict building regulations, limited usage of material, prefabricated cast iron details and a low-quality workforce). The attitude towards architecture as a noble art emerged in the 1970s. In addition to their everyday work, architects were engaged in art, music and film. In the 1980s, an abrupt shift towards the understanding of environment and history occurred: the Tallinn school, as it was known (architects Vilen Knnapu, Toomas Rein, Viktor Kaasik, Jri Okas, Leonhard Lapin, etc.), turned to the legacy of 1930s Functionalism and thus raised the question of identity, connecting the independent period with ethical, conceptual, romantic and patriotic strivings.

Estonian architecture has always been flexible and quick to adapt to the new. Often, however, this has resulted in the mere copying of the great figures of international architecture, or mechanical usage of fashionable tricks of the trade. After regaining independence, Estonia witnessed a vigorous boom in building and rebuilding, in order to prove Estonias orientation towards the West. Todays architecture is fashioned by dozens of new steel and mirrored office buildings, modern car lots, neon-lit supermarkets and private houses built to the taste of the elite. The achievements of the first half of the 20th century are the native basis for the work of successive generations, represented by the works of Emil Urbel, Raivo Puusepp, Vilen Knnapu, Andres Siim, Kalle Vellevoog etc. Estonian towns for centuries have quietly developed on their own, without much intervention. Also today, the process flows freely, not following any fixed planning, with a few decisions thrown in by men of property and politicians. Tallinn remains a city of contrasts; new glass towers in the vicinity of narrow streets and low buildings make the whole picture even more eclectic. Each new skyscraper tries to reach higher than the previous one. The early 21st century city, however, is open to the new; there is an obvious attempt to create a dense contemporary city centre.

One look at this beautiful Renaissance - style guild hall with its bright red, green and gold door is enough to explain why it's a regular feature on every Tallinn postcard stand. This was the historic home of the Brotherhood of Black Heads, Medieval guild made up of young, single merchants and foreigners. The guild's patron saint was the Moorish St. Mauritius, an early Christian martyr who died in Switzerland around 280-300 A.D. A profile of his head is pictured on the Brotherhood's coat of arms, hence the guild's odd name. A 14th-century residential building probably occupied this site when the Black Heads bought up the property in the early 1500s. Nowadays the guild hall is nearly the only preserved Renaissance building in Tallinn, and is a popular venue for concerts and receptions.

Kumu, the main building of Art Museum of Estonia, serves both as Estonia's national gallery and as a centre for contemporary art. The complex itself is a work of art - it was opened in 2006 after nearly a decade of planning and construction, and is considered a modern architectural masterpiece. Curves and sharp edges mark out the copper and limestone structure, which is built into the side of a limestone cliff. Kumu's exhibition aim to appeal simultaneously to a diversity of audiences. Exhibitions display both classical and contemporary art and everything in between. The museum program features art from the 18th century until today, Estonian art until the Second World War, art of the Soviet era and a changing program of contemporary art. In 2008 European Museum of the Year Award was given to Kumu Art Museum.