Oral tradition and its expressions, including language as a vehicle of intangible cultural heritage
Social practices, rituals and festive events
Traditional craft skills
Knowledge and practices concerning nature and the universe
Upīte Cultural Space (2018)
In 1910, the Zelch village established the Zelu School, which was transferred to Lotus village in the 30 s of the 20 th century. The school was located on the banks of the Coov River, so it was called a river school. Later, the school was moved to both Grohowa and Bouku villages, but it always carried the name of the river until, in 1981, the central village of the College, which grew around the school, was also named a river.
The beginning of the river's cultural space - the 30 th century of the 20 th century, and the 40 th-50 s, by the formation of colhoses, was inspired by an inspiration for the village of the river, located in the centre of the original cultural space, consisting of the great villages. In the aftermath of the war, the surviving Intelligence came into form, forming a new, powerful mouthroom.
In 1970, Anton Slišāns and Miķelis Jermacane began collecting spiritual and folk songs by recording and recording them in tape tape.
In the early 20 th century, the traditional cultural community, representing three generations, began to play an active role: the Etnography of the river Etnography (1980), the Etnographic Collection of the river basin and the children's folklore set (1980). In the 90 s, the musical chapel was active, later the folklore set “river” (2002), the children's house and young chapel of the People's House (2011).
The folklore consciousness and the cultural space care centre have been a family of Slišans throughout this time: Father Anton (Onton) Slišāns (28.12.1948-15.12.2010) was a foundle of folklore movement in this area, idea generator, project manager, patriot, municipality of Irene Slišāne (deletion). The Vizule (16.5.1952 –18.05 .2018) took care of the transfer of traditional culture to future generations, since 1982 involving pupils in folklore movement, traditional cultural maintenance and making processes; the older daughter, Annele Slišāne, continues to be an artisanal, more specifically the collection of weaving traditions, taking over and learning the skills of traditional positions and creating new textile works that interpret the skills and heritage of the ancient generations with modern art processes and actuarial events; son Andris Slišāns is the successor of the folklorist movement of his father and mother in the cultural space of the river, an active dancing tradition successor, the organiser of the river cultural life, organising all Latvian-scale events that attract folklorists, literates and musicians from various counters and cities; his wife Ligita Spridzane is involved in the cultural processes of the river since 2008; his wife Ligita Spridzane is involved in the cultural processes of the river since 2008, and his wife Ligita Spridzane is involved in the cultural processes of the river since 2008, and his wife Ligita Spridzane is involved in the cultural processes of the river since 2008, and his wife Ligita Spridzane is involved in the cultural processes of the river since 2008, and his wife Ligita Spridzane is involved in the cultural processes of the river since 2008, and his wife Ligita Spridzane is involved in the cultural processes of the river since 2008.
Much of the stream in the maintenance and maintenance of the cultural space has been given by the primary school of the river, which is studying, learning, studying, inheriting and developing the traditional culture since 1980 – mostly in the Etnographic Collection.
At the moment, the central location that maintains, contains and forms the cultural space of the river while promoting the ancient values and the modern cultural processes in local residents and the river guests is the “river” centre of intangible cultural heritage. It has three departments: the River People's House, the river library, the Onton Slišana River Culture History Museum.
30 proficiency carriers and masters are active in the cultural area of the river. It is a way to maintain a living ancient heritage and to transfer it to future generations as the river itself, as well as the largest region in North Atgale, Latgale, Latvia.
Importance in Community Life
The foundation of a river cultural space consists of local folklore and artisanal heritage, its identification and learning from recordings, written materials and excellent, ancient masters.
This live tradition is currently formed as the co-operation of three generations and is mainly organised by the Intangible Cultural Heritage Centre “river” and local folklore collectively: the Etnographic ensemble of the river (50-85 years of age), the folklore set “river” (15-40 g. v.), the river children folklore set (2-15 years).
Each set works separately, but at the same time, by inheriting traditions, the middle generation comes from the older, younger generation.
On the other hand, the younger and middle generation, with the support of an active Ligita Spridzane, acquires the local folklore records that have already been collected and found in various sources, and meets with the said, studying the tolk bolsus, the singing with a half-ball, the second bolts, the zagiuze bolus/spring bolus, the autumn bolus/bowls, the caladushone, the bitter, etc.
1. The river is alive and the spiritual tradition of singing is cultivated, these are the May singing at the cross and the singing of sailors about the dead. Every year, a May singing is held at the crusade, where the older generation is the leading role, but the younger generation is engaged and singing with them, becoming the successors of this tradition in the future. They are not theatrical performances or demonstration, but still alive. In the same way, the sanctionation of the deceased, the youngest generation of the older generation of wives, is cultivated. In this way, the live People's tradition, which has remained from previous generations, is still being passed on and is a good example of the cultural space of Latvia and the world – a good example is the concert of XXVI's overall Latvian song and XVI dance festival of July 2018, in a church where the singing of the river, including young people, sang Zechariah's song.
2. An important part of the river culture is the traditional festival of poetry “river Uobeļduorzs” (river apple garden), which has been held every year on the third Saturday of September and gathers Latvian-language lovers, poets, musicians from all Latvia since 2002. The festival is visited by people of different ages, finding something important, sweet and special for their soul. There is a Latgalian poetry and the music of all styles in Latgalian language – from folklore to heavy rose, making this event one of the most important events of Latgalic culture. The festival has twice received the Latvian Cultural Year award “Boņuks” as the best event in the cultural or People's House.
3. The modern cultural environment of the river is largely made up of the life of folklore clusters, as both daughters and boys and children meet together. While their daughters are singing, the men discuss their things, and the children can hear melodies and bolts, until they realize at one point that they already know the melodies and the words and sing with them. Children and men are also joining, playing and playing games, games and dancers. The cultural environment of the river is also composed of informal events organised by members of folklore communities outside of attempts, such as the “Agruos pušdnes” game, once a week, on Sunday, everyone meets one of its participants and enjoys the traditional food of these houses, later voting for the best respect.
4. An integral part of the River's cultural space is the People's Musicans, they participate in events organised by the People's House, play both in an informal environment and dancing masterworkshops, they can play the necessary melody and improvise, also singing, jump into the dancers, and dance in a smooth dance step. In addition, the generations of the river musicians are young, only 13-30 years old, but they can now be called the People's Musicans, because all melodies are being learned by listening and playing with them.
5. On a river from various places of Latvia, other cultural work enthusiasts and stakeholders of the Latgalian cultural space are arriving to meet people, talk, share their experiences – drive like home, drive into the stalls, come once and want to drive more and more, because the place and people, the affection and the feeling of the houses are attracted.
6. The river has been created since 1980 and has an environment that is binding for children and young people. With our knowledge, we are shared with those who come to see us in villages, dances, songs, songs. Celebrating festivals: Meters, Easter, Summer sunshine, Miķelus, winter sunnuts.
7. The richness of the river cultural space is pooled by the izloksne of Latgalian North Latgale (river, Squilbert), because it is only in latgalically. The process of northern literary literary language has been taking place for several centuries, with the Latgalians participating since 1908, when the first Latgalian volūdas grammar (Onton Skryndys) was issued in St. Petersburg. The language spoken in Central Latgale was chosen as the basis of the Latgalian literary language, also in 2007 and THE “Latvian language spelling rules” approved BY THE CABINET of MINISTERS correspond to the language used in Central Latgale and part of South Latgale. Unfortunately, the specificities of the North Latgale language are sometimes only allowed as parallel forms, but mostly they remain only in oral communication, thus contributing to the forgetfulness of the oldest forms.
Thanks to Anton Slišana's enthusiasm and heartburn, the language heritage of North Latgale is still topical, he has continued the identification of the folklore texts of his native side, incorporating them into the folklore repertoire, using ancient forms and words in his own literary beauty.
This is why it is now safe to say that, as in Germany, there is a bavarian izloksne with its own peculiarities, so that in Latvia, alongside the Latin pattern, there is a brightness of Ziemelļatgale, which is found IN A. Slišana's works and in the activities of the folklore group of the river: the collection of songs, the singing, the inheritance of traditions and the transfer. When you normalize the Latin pattern, you change the individual sounds, shapes, and folklore texts, also A. Slišana beauty, these are very important details that can change the sound of the poetry or the sound of the song melody. The preservation of the northern latgale is important, although in everyday communication, the river does not disappear in the cultural space.
Inheritance and Transmission
The river is the only region in North Latgale, where the population is so widely known, explored, preserved, developed and handed over to ancient dancers, games and games, as this knowledge since the activities of Anton Slišana in the 70 s-80 s is a targeted and organized character, not a chaotic self-activity, but a sense of heart and responsibility of local cultural roots and the process of shaping the modern cultural space.
This process is carefully coordinated and organised by exploring, exploring, restoring ancient traditions and creating educational materials for their acquisition by organising and managing masters in a nearby and remote surroundings, regularly organising dancing activities.
If, by 1980, the dancers were only in our grandmother's memories, when they were danced at dancing events, green-balls and vecherinks, then, from 1982, Irene Slišāne, with the children of the school's ethnographic group, drove into expeditions at the local dancers and made dancers - they are now widely known throughout Latvia.
At the beginning of this centuries, a group of young folklore of young people, now grown up as a folklore “river”, began a new phase in the acquisition of both the inherited dancers and the multi-voice songs (directly in the river and performing in Latvia's latest semiconductor literature – Kate Slišāne, who is 17 years old).
We have inherited dancus from grandmother, they are taught to children. There have been an estimated five generations of school-age children who have participated in both the annual celebrations: masking in pedestrians or gypsy-going traditions in Martians, Christmas and Means, Easter celebration at Lorette Castle and River Oak, Pleasant, Yellow and Miķeldah traditions, and learn the rivers and dancers of the river.
The cultural environment of the river can be divided into several periods.
1. By the time of the Soviet occupation, almost every house had a weaver, a witter, a stitch, a craftsman, a songwriter, a dancers, a musician. There was a cross in each village, where the whole village sang the May songs together. All festivals, works (Tolkas) and anniversaries were sanctioned, dancing in vecherinks, or green-white.
2. Occupation time. By 1970, the number of speakers, musicians, craftsmen, dancers decreased sharply. This was facilitated by the shrinking of the population due to the Second World War, the sending to Siberia, the collection and the escape of the population to cities, as well as the change in collective thinking, which was facilitated by the denial of the ancient heritage, the various prohibitions of Soviet life, the laugh of the past and the killing of the past, the praising of a new life rooted not in the local culture but brought from the centre.
3. Anton Slichan's time. In the early 70 s, Anton Slišāns, along with his parent brother Mikķeli Jermacane (Jakubtav), understands that if they do not do anything now, the goodwill will disappear. So they recorded the spiritual songs and songs of Anton's mother Anne Slišāne, Catherine Jermacanes and other wives. In 1980, Anton Slišana was founded by Etnographic ensemble in Rekov and a few weeks later in the river. The first concert of both parties took place on 2 August 1980, which is also regarded as the date of its establishment. In the autumn, the pupils were gradually involved in the singing of peoples. In 1982, Irene Slišāne began to be engaged in the singing, dancing and toy of the pupils. She has raised at least five folklore configurations over the course of 32 years. The River's ethnographic ensemble wives were strong songs, while a very large, unselfish work with children was launched, and the river in these years remained a leading role in the inheritance of intangible cultural heritage in North Latgale.
4. Intensive working time. From 2000 to 2010 Anton worked with the old generation, Irene, with the younger generation, and Andris with Ligita, with an average generation. In 2007, a project was launched at the “Inheritance of the Year of Traditional Cultural Heritage”. This marked the beginning of a new, intense and rapid change of change in the field of traditional singing, dancing and musicisation.
In 2010 Anton Slišāns went on, but even more intense and more focused work began as he understood his invaluable contribution to the culture of the river.
Just in 2011, a new stage in the traditional musical field began, gradually forming a chapel of young musicians who learned musice—learning to play after hearing. The voices recorded by Anton, who had been lying in the ribs since the 70 s of the 20 th century, were reanimated, and a song disc of the river was issued, with the songs of three and four bolts, including singing with a half-ball. There was also intense work on the recognition and promotion of dancers, games and games, as a learning tool issued on dancing DVD. The folklore group “river” began active concert activities outside Latvia's borders – Poland, France, Lithuania, Czech Republic, Romania, Italy (Sardinia).
In 2017, 1 was held. The international folklore dance festival “lipa kust” in North Latgale, organised by the association “River youth folklore set”, the central venue of the festival was a river, including Baltinava, Rekov and Semenova.
Since the early 20 th century, the role of the river in research, preservation and promotion of intangible cultural heritage is to be the first, most active, to be leaders – light carriers.
1. Aija Korneja (b. Šakina) (Upīte) - storyteller, expert of games and culinary heritage,
2. Andris Ločmelis (Briežuciems) - craftsman (leather crafts),
3. Andris Slišāns (Upīte) - expert of traditional dances,
4. Anna Keiša (b. Slišāne) (Upīte) - the expert of the spiritual songs, singer, storyteller, the May singer at the cross,
5. Annele Slišāne (Zelči) - craftsman, artist, weaver,
6. Daiga Keiša (b. Gabrāne) (Bokova) - storyteller, expert of traditional dances,
7. Daina Slišāne (Stabļova) - storyteller, expert of traditional dances,
8. Dāvis Slišāns (Komugreiva) - expert of traditional dances, whistle master,
9. Dina Krakope (b. Vizule) (Stabļova) - storyteller, craftsman, expert of the culinary heritage,
10. Domeniks Slišāns (Upīte) - folk musician, storyteller, expert of traditional dances,
11. Ilgvars Keišs (Baltinava) - folk musician, craftsman, carpenter,
12. Inese Matisāne (b. Liepiņa), (born in Saulkrasti, living in Upīte) - storyteller, expert of culinary heritage,
13. Irene Romka (Mukaušova) - craftsman,
14. Irmina Slišāne (Stabļova) - singer, a May singer at the cross,
15. Iveta Logina (b. Kudrjavceva) (Dubļova) - singer, a May singer at the cross, craftsman,
16. Kate Slišāne (Upīte) – singer, folk musician, storyteller, expert of traditional dances,
17. Liene Logina (Baltinava) - folk musician,
18. Lienīte Slišāne (Upīte) - craftsman, artist,
19. Ligita Spridzāne (born in Šķilbani, living in Upīte) - storyteller, expert of traditional dances, weaver, braider,
20. Livia Supe (Stabļova) – singer, storyteller, a May singer at the cross,
21. Lolita Spridzāne (Šķilbani) - weaver,
22. Malvīne Romka (Mukaušova) - craftsman, weaver,
23. Mārīte Slišāne (Upīte) - expert of culinary heritage,
24. Monika Keiša (b. Tabūne) (Upīte) - storyteller,
25. Natalja Putniņa (b. Kondratjuka) (Dubļova) - storyteller, expert of traditional dances,
26. Renārs Kornejs (Upīte) - expert of traditional dances, beekeeper,
27. Rolands Keišs (Baltinava) - folk musician,
28. Sandra Bukša (Stabļova) - craftsman, artist, expert of the culinary heritage,
29. Valentīna Keiša (Pakašova) - storyteller, singer, a May singer at the cross,
30. Zintis Krakops (born in Bukas, lives in Tilža) - folk musician.
Institutions and Organizations
1. Society "Upītes jauniešu folkloras kopa"
2. “Upīte” Centre for Intangible Cultural Heritage
3. Balvi county council
4. Šķilbēni parish administration
5. Baltinava High School
Strengthening the Tradition
The association “river youth folklore cluster” actively participates in the acquisition of various Latvian-wide and EU, including EU LEADER projects, attracts funding from Vilaka municipality councils and local entrepreneurs.
Over the past ten years, many projects have been implemented, attracting more than €150 000. The most important projects – the preparation of North Latgale peoples for the youth folklore community of young people and a river for children's folklore tree, the building of the roof of the building of the intangible cultural heritage centre and the establishment of a sanitary node, the acquisition of sound equipment, the organisation of various events of traditional cultural heritage, including the regular festival of the children and youth folklore of Kokowa, the festival “the Uobeļduorzs”, festival “river Uobeļduorzs”.
In addition, in recent years, by attracting funding, it is possible to enjoy professional art in the river, the important events of Latvian cultural life can be enjoyed and seen in the people's house. They are a variety of Latvian professional theatre performances, artists' exhibitions. The association will continue to act as a platform for attracting funding through various projects
See the plan for longterm strengthening of the Element in section on “Textual Materials.”
Threats to the Tradition
Since 1 September 2018, the primary school of the river has been eliminated, leaving the usual work with children in Etnography and children folklore together. However, the work with children does not stop because the children's folklore set continues to operate under the umbrella of the Intangible Cultural Heritage Centre and attracts new members.
In modern Latvia, there is a depopulation in rural areas, a sharp decline in population, moving to larger populated centres, foreign countries. However, the very intensive cultural life in the river region is a way to contribute to the preservation of the population, as the desire of the population to remain in ancient populated areas is not only by economic factors, but more the sense of belonging to their recognised cultural space, whose parents and they themselves have participated in the creation.
Andris Slišāns, association “Upītes jauniešu folkloras kopa”, Reg. No. 50008155851
Beitane, A. (2009). The vocal voices of the late origin in Latvian traditional music. Riga: LU literature, folklore and art institute.
Boiko, M. 1991. North Latgale literature: context and structures. Manuscript. Riga: Joseph's willow Latvian music academy.
Boiko, M. 2012. “Deceased optium (saļmes) in Latgale/the Office of the Dead (sails) in Latgale”. Psalm singing in Latgale. Officium defunctorum. The Office of the Dead in Latgale. Aigars Lielbardis (sast.). Riga: LU literature, folklore and art institute, 14-46.
Boiko, M., Gita Lanzer, Anda Beitane. (2008). Latvian traditional music antology/Anthology of Latvian Traditional Music. Riga: LU literature, folklore and art institute.
Boiko, M. (2001). “The dead offenium (officium defunctorum) and the folklore of dreams in South East Latvia”. In: material on culture in the context of modern Latvia. Riga: science: 69-105.
Boiko, M. (2001). “Psalm singing tradition in Latgale.” In: Acta Latgalica. Zinectnical roksts, documents, trimmings. No. 11. Daugavpil: Latgola postage instituta publisher: 348-377.
Boiko, M. (2002). “Meeting with dead dreams: typical and untyped narrative and their functional and cultural historical context.” In: Agita Luse (red.) A man. Life. Narration. Riga: Latvian anthropologist association, Latvian university literature, folklore and art institute: 115-125.
Boiko, M. (2004). “Death, autumn, dreams, and dead offensive in Latgale.” Music Sun, 2004 No. 5 (25): 24-27.
Cibule, R., Anda Beitane. (2015). “Intangible cultural heritage in theory and practice.“ North Latgale experience ”. Preservation of intangible cultural heritage: Latvian experience. Riga: UNESCO Latvian National Commission, Latvian National Cultural Centre.
Kranenborg, A. (1999). Valentine's song (het Lied van Valentina, 1999), one of seven movies in the series Lied van verdriet (sad song).
Slišan, A. (2016). Folklore Coop. When I took a muoc, doncuot muoku. Bracelets and dungeons. Rezekne: Latgale producer group.
Slišan, O. (2004). “Jones in Latgale/Judians in Latgolia”. A practical Jāņu book. Aida Ranāne (sast.). Riga: National Agency for People's Art Centre, 76-81.
Slišan, O. (2012). “Continuous singing tradition in the river/Singing of the Office of the Dead in the river”. Psalm singing in Latgale. Officium defunctorum. The Office of the Dead in Latgale. Aigars Lielbardis (sast.). Riga: LU literature, folklore and art institute, 47-56.
Slišan, O. (2010). “Chiacrxinate or felled roots”, Rezekne, ZS Jakupāns
Beitane, A. 2012. “Multipart Singing in Northern Latgale: Dynamics of Tradition in the late 20 th — Early 21 st Century”. In res Musica, No. 4/2012, 125-143, ISSN 1736-8553.
Beitane, A. (2018). Notes from Latvia. Multipart Music in the Field. Vienna: Department for folk Music Research and Ethnomusicology of the University of Music and Performing Arts Vienna/Riga: Joseph Vītols Latvian Academy of Music.
Boiko, M. (1998). “Relics of Burial Laments in Latvia”. In: Jukka Louhivuori (ed.) Finnish Yearbook of Ethnomusicology 1998. Special issue: Conference Proceedings of the European Seminar in Ethnomusicology 1997. Helsinki: The Finnish Society for Ethnomusicology: 152-162.
Boiko, M. (2005). “Totenoffizium, Jesuiten und heidnische Seelenspeisungen in Südostlettland.” In: Heike Müns (Hg.) Musik und Migration in Ostmitteluropa. Schriften des Bundesinstituts für Kultur und Geschichte der Deutschen im östlichen Europa, Oldenburg. Bd. 23. München: R. Oldenburg Verlag: 61-79.
Boiko, M. (2010). “Da lattgallische Totenoffizium.” Zu seiner gegenwärtigen Lage. 'In: Rolf Bader, Christiane Neuhaus und Ulrich Morgenstern (Hrsg.) Concept, experiments, and Fieldwork: Studies in systematic Musicology and Ethnomusicology. Frankfurt am Main: Peter Lang: 369-380.
http://www.balvurcb.lv/kb/ - The database contains records of all collectors working in the river culture, about the speakers, the People's Musicans, the major events. Each record is accompanied by a link to a list of sources in a collection database, which is a bibliographic information database on newspaper articles, books, and other publications. For example, there are 28 publications from the newspapers “Vadfire”, “local Latgale newspaper”, “Vilaka novada” and “A12”, or, by entering the name of Valentine Keith, a number 10 entries from the newspapers “Vadfire”, “local Latgale newspaper”, “education and Culture”, “cultural forum”.
https://youtu.be/_E_619U59lI - Latgale regional TV story of the couping tradition in the river
https://youtu.be/T6m4rA3UA7A - Latgale regional TV story of the festival “lipa kust”
https://youtu.be/7Xg7KrOJIcw - Latgale regional TV story of the festival “River Uobeļduorzs”
https://youtu.be/tVupIPuTf_M - RETV programme “Latvian stories. Personalities'