Riga - European Capital of Culture 2014 candidate

Riga -EuropeanCapital ofCulture2014candidate

The Application of Riga for the Title of The European Capital of Culture 2014

contentsmy name is milda 4riga’s proposal for the project of the european capital of culture 2014 13challenges presented in the application for riga as european capital of culture 2014 15goals proposed in riga’s application 17kult[rix] 19riga’s programme 2014 29force majeure 31programme guidelines and structure 32thirst for the ocean 35freedom street 49survival kit 61road map 73riga carnival 86amber vein 105european dimension 117cooperation with sweden 2014 123city and its citizens 129mobile centre 135mobile centre in sigulda, riga’s official partner city 141cultural centres of riga and largest venues for 2014 events 153riga’s communication strategy 167ecc year organisation 172application link with long-term development plans 174application preparation process 178riga’s 2014 ecc project task group 181cooperation partners 184special thanks 187

My name is Milda Kristīne, née Krastiņa. I met AlfrēdsAleksandrs Vinters while living in Mīlgrāvis. We were married in St.Paul’s Evangelical Lutheran Church at Christmas, in 1927. I alreadyknew that Alfrēds harboured undiscovered talents and that he wouldn’tjust remain in the memories of our neighbours as a sawmill worker. Heplayed the violin and the zither. Alfrēds had learned to play these inhis childhood as part of his father’s orchestra. He played for his ownpleasure and for that of others. This is how he became a songwriter,beloved throughout the nation. When Alfrēds was already becomingfamous, we made the acquaintance of the sculptor Kārlis Zāle ata garden party. I remember, it was a very hot summer, Alfrēds wasplaying, but Zāle approached me, and that is what changed my life.I became, as they now say, a legend. In 1935, Kārlis Zāle finishedbuilding the Freedom Monument, based on his Shine Like a Star!design. People started talking of the resemblance between me andthe lady on the top of the monument. I don’t know why, but peoplealso started calling her by my name – Milda.At the very beginning, so that I could stand and guard, thepeople of Latvia donated funds by way of gratitude to those whofought in the Latvian War of Independence of 1918-1920. I wouldlike to see such a great instance of unity in this century as well.Today, thousands of people take photos of me daily – Germans,Japanese, Russians, English, Latvians and many others. Theystop and watch the changing of the guard of honour. I would liketo lift them all up – the guards, the tourists, the Latvians – to thevery top, so that they, too, might see the view that opens up everyday from my vantage point, 42 metres up. The places whereRiga’s buildings begin, the sea disappearing into the horizon, theunusual sky over Riga – they are all visible from here.I am fondly called Milda. It is a good viewpoint,one from which I can see the whole city, exactlyas if I was a bird in flight. I am like a city sentinel. Itis surprising that I have survived through all thosewars and times of confusion. Maybe it was luckthat my fate was decided by the Riga-born andParis-schooled student of Kārlis Zāle – the famousUSSR sculptress Vera Mukhina, whose Workerand Kolkhoz Woman is known all over the world.The only chains they decided to guard me withthen, so that freedom wouldn’t ‘escape’ on its ownaccord, were trolleybuses and their electrical wires,innovations of the time.Every day, I watch Riga changing – growing insize from one day to the next. People, cars, trams,houses, shacks, towers, buzzing, rushing, silence,noise, streets and gates that connect the city’s ArtNouveau pearls to thousands of wooden houseson both sides of the Daugava River, the roofs andturrets of Old Riga, with its place in the UNESCOWorld Heritage List. I see ever newer buildings,I see cranes rising above the future library, andships coming into the port of Riga.

From above, everything can be seen better. There are places andpeople that I wish to see changing. Different periods have left theirlegacies in all the neighbourhoods of Riga – the shapes of factories,where manufacturing used to take place for both the Russian and forthe German occupying powers. Now they stand abandoned. I wantto wake up those living in ‘sleeper neighbourhoods‘ and who haveforgotten to greet one another. I want to landscape the banks of theDaugava River, where people go and meet each other. I want to seeRiga grow, not just spread out ever wider.Riga has always been a free city in its own way; it hasalways wanted a relationship with everyone. It has neverwanted to stand apart. Maybe that is why I am built ofFinnish granite and Italian travertine, while my figure hasbeen cast in bronze by Swedish craftsmen. Differentpeople have played a part in creating my colourfulRiga over the centuries – Livs, Latvians, Germans,Russians, Jews, Swedes, Estonians, Lithuanians, Poles,Belarusians, Ukrainians... they have all lived here together.Historians speak of a Liv settlement that was here,under my feet, a thousand years ago.I watch the bridges over the Daugava,connecting both parts of the city. I see thatfor some, the Second World War endedonly yesterday, and it is still not easy toagree on what happened on May 8 th or 9 th ,1945 in Europe, and what emotions shouldbe felt when remembering the decadesthat followed these dates in all of EasternEurope. I hope that an understanding ispossible for Riga.

People aspire for something more.They gaze at the Baltic Sea from theMangaļsala lighthouse and think aboutwhat is beyond the horizon, and dream oflifting up the skies above Riga. It feels likethere is a hidden energy pulsing withinthe city, seeking its way to break out, likethirst that seeks quenching.Riga is thirsty, as if waiting for the rain. Iwant to see the city revive, just like afterspring rain.Yours always,MildaRiga is not afraid of large-scale relationships.Historically, Riga entered into trade alliances andfriendships with cities throughout the world – bothduring the Hanseatic League period and today.Riga knows how to receive guests fittingly – we havewelcomed NATO state leaders, Pope John Paul II,participants of Latvia’s song and dance celebration,Queen Elizabeth II, the Dalai Lama, spiritual leader ofTibet, visitors of Riga’s 800 th anniversary celebrationsand thousands of others from all over the world. All havebeen among the city’s welcome guests.

iga’s proposal for the projectof the european capital of culture 2014Every city has many faces. Possibly, we know just a few ofthem. City guests and inhabitants often see completely differenttowns. Riga – a cultural metropolis, a European suburb, apoint between Russia and the West, a harbour town, a bilingualsociety, a city with rich cultural traditions, song celebration,Jugendstil, old wooden structures, innovations, new medias,opera. Culture is undoubtedly a significant component of thiscity that cannot go by unnoticed even during a short visit, inthe haste of today when there is no time to observe and obtainin-depth knowledge.For many of Riga’s guests, the first encounter with the city takes placeat the airport. RIX – the airport’s denomination marking Riga on theglobal map. Kult[rix] – that is how we will recognise Riga as the 2014European Capital of Culture (ECC), a city inseparable from culture.Kult[rix] is more than a hybrid of words, it is the key to the Riga’s culturalspace code, encompassing both tradition and innovation, joining thecommon with the elitist, immersing the local into the global and holdingan endless amount of the undiscovered and unknown. One of thechallenges faced by the ECC is to reveal what Kult[rix] is to both Riga’sinhabitants and guests.Often known in Latvia as the patriarch of multi-media, Hardijs Lediņš– architect, musician, man of letters, artist and performance master– said several years ago that ‘... every geographic point is capableof generating anything. Absolutely anything that can be generated.Therefore, practically any point presents the opportunity of generatingan entire scale of values’.[x] is the unknown point on the map of a city, country or Europe thatcreates and accumulates creative energy and expresses itself inthe most unexpected ways. It doesn’t matter if the creative potentialis concentrated in an environment with a well-developed culturalinfrastructure or in a city suburb that can’t pride itself with culturaltraditions and ordered surroundings. Transgressing and expanding theusual territorial and geographical boundaries, initiating and stimulatingthe development of cultural processes onto an unfamiliar territory, weliberate a new charge of creativity and can achieve surprising results.When looking for the [x] point, imagine the view from an aeroplaneheading towards Riga, or a Google Earth image on a computer screen.We can try and zoom in, looking for a familiar place or noticing somethingout of the ordinary. The digital age offers an unaccustomed closeness,allowing the image to be transformed into pixels. The Kult[rix] schemewould work in a similar way, first focusing on the region and the city,then zooming in to the cultural institutions and events that take placethere, and finally – the people.Cultural activities migrate to the suburbs and through gentrificationtransform degenerated territories into cultural polygons andlaboratories. Short-term cultural activities and artists’ interventions informer harbour territories, monotonous residential areas or languishingsuburbs continue the development of new and existing infrastructures,as well as improve the quality of life.[x] is cultural territory, where, through the interaction of various culturalaspects, a symbiosis of new cultural forms is created, widening the usualborders of cultural perception and providing new experience. The textureof culture is interwoven by various forms of life – cuisine, conversations,gardens, psycho-geographic walks. The various expressions of cultureare interconnected. As the global interacts with the local, the nationalculture is influenced by the global and European cultural processes,and they, in turn, are fed by the specific features of the local.Along with the aspect of global and local interaction, we can developa theory about the spirit of the age or zeitgeist, and atmosphere of aplace – they both are mutually connected values. Their interaction couldbe compared to panoramic potentiometer activity. Turning it one waythe proportion of zeitgeist increases and the presence of atmospherediminishes, but turning it the other way, the opposite occurs. However,the total exclusion of one factor is impossible. The system zeitgeist –atmosphere of a place’ has an inseparable polarity, where one pole isin a contradictory position in respect to the other’.As a text is formed by words and spaces between them, the languageof culture is formed by events, buildings, achievements, as well asexpressions of culture integrated in our everyday lives, and which weperceive as self-evident. They are like a fungus mycelium, of whichwe notice only the mushrooms, leaving the net of branched rootsunnoticed. The activities of the ECC could activate the diversity ofcultural forms and the development of their entire spectre.12 13

challenges presented in the application for rigaas european capital of culture 2014Real value is hidden in thespace between words. Textis just a form of information,which is finished andtherefore restricted. Thevalue of culture is not form,but the freedom of creativespirit, which dwells in theinfinite space betweenobjects and concepcions.• Develop a new understanding of culture, perceiving it asbroader than the development of the specific cultural sector,expanding borders and demonstrating the effectiveness of thepresence of culture and creativity in all fields as an ability to createadded value and develop a positive influence on people, theeconomy, various aspects of development of the city and society,the human race as a whole;• Expand the borders of accessibility of culture and initiate thecreation of a new form of civil communication, in order to reachnew audiences, involve existing ones and ensure their participationin cultural processes, activating a new quality of communicationculture within interest groups.• Create common discussion in interest groups, for the surmountingof sector, territorial, social and competence barriers andcommon resolution of tasks. Development of a common responsibilityand action platform on a local, regional and cross-bordercooperation level, within the framework of existing organisations(business associations, research and manufacturing businessclusters), as well as develop the creation of a new intersectionalcooperation network.Justification of challengesFor twenty years Latvia’s history has been characterised by –nationalism – segregation – Europisation – migration – ascent –crisis – joint creation of responsibility. These processes can beconsidered summary development lines, resulting from privatisation,liberalisation and structural reforms over recent years in thisregion. They are processes that concern society as a whole andinfluence every person’s life. They are visible and tangible processesthat have long-term consequences for society and whichcreate the base from which the city will develop.Creative ideas, creative approaches, creative solutions, imaginationand ideas are becoming the main economic driving forcesin the world. Creativity has always been an instrument of culturalprocesses, thanks to which development, cooperation, acquisitionof traditions are possible, but the city has developed as aspace where creativity can take place. Creativity is what developslinks between people, promotes the development of a dynamicsociety and competition. Latvia’s long-term development strategyfor 2030 indicates that creativity is a resource that Latvia, includingRiga, as the most significant source of human capital andpartnership, mustn’t deplete, but look for new ways in which tomake use of.The fuel of creative economy is creative substance or idea resource,which is generated by talent and an open society. The jointcreation of responsibility is the quintessence of the creative process.Three things are necessary for joint creation: cooperationbetween people and organisations – desire to cooperate, practicalaction; cooperation institutionalisation – common standards,knowledge, values, support – and social capital – common trust,contacts.The joint creation of responsibility is Latvia’s and Riga’s challengefor the next few years and can be achieved by developing thepotential for creativity, imagination and cooperation. Creativity isthe resource of the future, without which the joint creation of responsibilityis impossible.14 15

goals proposedin riga’sapplication• Promote creativity and an innovative approach, highlightingthese as key catalysts in cultural development and the improvementof cultural processes, because culture as an instrument for the cultivationof creative skills and improvement of the individual is the mainprecondition for the birth of new ideas and improvement of the qualityof life and culture as an event and process of society.• Show the diversity of European culture and encourage interculturaldialogue, promoting the development of a quality, new communicationlevel between people in the Latvian and other Europeancountry cultural sector, societies in the civil sense, different generations,social groups and interest groups;• Promote dialogue and understanding between cultures and nations,promoting diversity of civil opinion and multiculturalism,thus enriching the European cultural space;• Accentuate the need to deepen the concept of developmentin the city administration context, supplementing it with a culturaldimension and underlining the fact that cultural development andcreative activity are significant factors that influence the quality oflife, welfare and sustainability of cities;• Highlight and present the interconnections between the cultural,educational and economic sectors, acknowledging that thesynergy of these fields develops an economy based on knowledge,highlighting the importance of the creative industry in theeconomy;• Implement Riga’s cultural development vision and popularise itin Europe, thus promoting the city’s intention to visibly demonstratethat an understanding of culture promotes human rights, sustainability,democratic participation and creates conditions for peace;• Fulfil Riga’s ambitions with a rapid and determined developmentof the cultural sector, bringing to life new cultural infrastructurefacilities in Riga’s urban landscape and developing the existing culturalinfrastructure.• Promote the principal of participation as the basis of culturaldevelopment, which would interweave and link civil responsibility,identity, creation, intercultural dialogue and festive atmosphere;• Underline the importance of local cultural development, becauseit furthers the democratic participation of society, multiplies socialcapital and balances current globalisation tendencies, highlightingthe importance of culture in a local context and promoting the rights ofall city inhabitants to culture and knowledge, discriminating no-one.16 17

tensityskycurrentfutureaustras koksblue mushroomamber roadspirituallifesequelprocessresinwhiteredblackocean war spirit ideakult[rix]Kult[rix] designates the cultural space, cultural territory ofRiga that embraces both traditions and innovations, combinesforms of daily life with the elitist and the professional, merges thelocal into the global and hides many yet undiscovered things. Thenotion Kult[rix] in Riga’s project denotes a new understanding ofculture marked by three basic principles or keys:• Creative abilities;• Expansion of borders (broadening of the understanding ofthe notion of culture through close interaction with other fields);• New forms of interaction.In implementing the project of the European Capital of Culture,Riga intends to call into being the new, broadened through Kult[rix]understanding of the notion of culture already before 2014 andensure the further development of this ‘platform’ after 2014, establishingit as a well-known hallmark of processes and events thatchange the way of thinking, based on perception of culture as acreator of added value, creative industries and all other fields andthe driving force of sustainable development of the city. Kult[rix]is a scheme of thinking, a set of tools contained in each eventin the programme of the year of the European Capital of Culture.earthseapastphysicalcauseAdventures of Austraskoks* in the world of force majeure (*a symbol of dawn in Latvian pagan tradition) | Egils Mednis19

Creativity is the ability topaint a painting, creativityis the ability to see apainting and wallpaper,and understand thatthe painting’s motif canbe transformed intowallpaper and propose itin a creative mannerI think that life itself is a kindof creative project becauseat every instant we come intouch with new situations.Each moment is unique, youhave to resolve it and youneed new ways of thinking.Creativity isfreedom andself-assurance.Mutual respect.Respect towardscultural heritage,environmentalvalues. Culturaleducation of anew generation.Tolerance,understanding,culture ofmutual relations.Knowledge ofthe creatorsand pioneers ofLatvian culture,environment,heritage. Theacquisition ofcreative skillsand abilities froman early ageUsing a creativeapproach, we needto promote new waysof communicationthat broaden existingborders in people’sconsciousnesses, theso-called Riga cultureextends beyond the cityborders – not just ona Latvian, Baltic Searegion or Europeanlevel, but also ona global levelCreative industries – in Latvia so little known, inthe EU considered strategically important fields ofeconomic activity. At the same time they mark bordertransgression and the creation of aspects of newcommunication points – business and culture, variouscultural fields, international cooperation, etc.Everyone has somekind of creativeenergy, ideas. It doesnot matter whether heis or is not an artist.What matters is thathe does not focusesit solely on the choiceof goods, on dailypreoccupations andmaterial things, buteither creates a workof art or expresseshimself in the creationCreativity: anyone can be creative. Childrenare creative, janitors and trolley-bus driversare creative. Unfortunately it is not called theright name. The intellectuals have privatisedcreativity as inherent in their circles only.of something new,even if only on thelevel of amateur art.There are very manydifferent opportunitiesto be creative, themain thing is thatit should not beconcentrated only andexclusively on somesort of consumerculture.creativityThe creativity of every Riga inhabitant is a value that can be madeuse of and which needs to be stimulated, ensuring the possibilityfor all to take part in cultural processes. Riga is a cultural territorythat is open to new ideas, orientated towards a wide participationof society and the stimulation of new work, with an aim to promotea greater cultural diversity and dialogue.• With the expansion of the concept of creativity, applying itto any sphere of life, not just traditional fields of culture, developinga symbiosis of various sectors, thus creating new ideas, newcommunication forms and actions. A new perception of cultureand the broadening of the concept of creation will stimulate thecreative economy, promote the transposition of art and creativityalso onto economic and business benefits and stimulate publicand private partnership.• Creativity is the most important driving force for Riga’s development,thanks to which solutions are possible both from the aspectof new communication forms and from the border expansionaspect. A change in the perception of creativity would mean acreative approach in any profession or walk of life, which, if takenadvantage of, can achieve sustainable development for the city.• Creativity anticipates the promotion of dialogue and creationof joint responsibility for the city as a common living space,about environmental quality in the broadest sense of the word.Creativity is what promotes the participation of various groupsand individuals in the city, which makes the creation look for formsof expression.• With a growth in the well-being of society and the quality ofcity life, it is increasingly important for inhabitants to be involvedin some kind of creative activity. Personal growth is becomingincreasingly significant, therefore, taking into account Riga’s developmentscenario, where the accent is placed on the person,the possible uses of this potential have to be anticipated.• The merging of the cultural and creative sectors has stimulatedgrowth in recent years in Europe and created a need to developcreative industries and promote broader interdisciplinarycooperation forms – greater social, humanitarian, scientific andart cooperation. This is possible by changing the understandingof the concept of creativity. Creative industries are one of Riga’smost significant resources, which will have a major impact in thecontext of long-term development.• One of the main instruments of creativity, for achieving achange in the perception of culture and idea of border expansion,is the use of positive provocation in relation to the everyday levelof consciousness of culture and society, and the desire for experimentation,supplementing the traditional process of the perceptionof culture with provocative methods, creating new processeswith an experimental approach.• Creativity as the main driving force of cultural developmentcan be employed in the use of technologies and for a change inthe perception of the fact that technologies are an element of culture,an instrument of creativity, a tool for people’s creativity. Therapid development of technologies can be used as an instrumentthat permits the synthesis of various sectors, developing cooperationbetween individuals and various societies. Technologies anda creative use of them present the opportunity for cooperationin an inter-regional and global context, which, over the comingyears, will be a significant factor of cultural development of anycity. In a situation where technologies are rapidly developing andpeople ‘can’t keep up’, it is precisely creativity that becomes themost significant resource of competitiveness.* Focus group comments20 21

Latvians are in themselvesa kind of border. A borderbeyond which the unfamiliaror unknown begins.Important is the need for adequate infrastructure,cohesion of the social sphere and the city, creativeeconomy in the shape of support for different projects.In 6 years Riga will look different. Which of all of theabove-mentioned aspects will be topical still? Wemust focus on those who will remain topical.Depressedareas really arevery important.It would beimportant tothink about thistarget audience,it shouldn’t bethose who doattend eventsto a greater orlesser extent, but,if it is the city,then it should”encompass theentire city.Culture is aninterdisciplinaryphenomenon,which feeds off theIt is importantto encouragethe miniaturecreativity ineach district,in each placeof the city, tosearch for it,to find it andto support it.It isimportantnot justto build ahouse thatcreates theatmosphereof culture,but to dovery manyother thingsaround itas well,symbiosis of varioussectors. It is nota frozen dogma.Changeability and theability to react withprecision to whatis happening is oneof its qualities. Thecultural environmentof every city isdifferent, similarlyto food, which ismade up of differentingredients. Culturecan have severalaxes in a city, severalcentres of gravity.Migration of the centre=suburb in the centre,centre in the suburb.The everyday as art=art as the everyday.to put thetransportand all theother thingsin order.border expansionThe idea of border expansion encompasses the expansion of theborders of both space and time, with the aim of making full useof the potential offered by human resources and infrastructure.In Latvia’s case, Riga has amassed both cultural and spiritualpotential. The mobility of this creative potencial, and its promotionis envisaged in the “Mobile Centre” idea involving partners fromthe Riga region, other parts of Latvia and Europe.notion of spatial border expansion• The idea of spatial border expansion focuses on thecurrently dominant cultural forms being transferred to a differentgeographical space – outskirts, residential areas, out of the citycentre, stressing the idea of culture as a changeable centre ofevents. Currently, culture concentrates in the centre, while thesuburbs continue their life on the periphery. Through borderexpansion suburban cultural space is created anew, turningdepressed city regions into locations for creative and culturalevents.• The spatial aspect of border expansion also includes theexpansion of borders with the construction of new, significantcultural infrastructure facilities (the new Latvian National Librarywill connect Latvia’s regions into a common information networkand will develop intellectual and information cooperation networkswith other country databases; the new Contemporary Art Museumwill include Riga into the network of contemporary art processes,marking it as a new location for cultural dialogue on the map ofcontemporary world of culture).• Conscious of Riga’s dominance in Latvia’s spatial structuresand the growing intercity migration in Latvia, the borderexpansion concept also includes aspects of regional cooperation,development of cultural cooperation forms among towns andregions, thus decentralising cultural events and making use ofinfrastructure, encompassing as wide a cultural field as possibleand developing new forms of cooperation. The “Mobile Centre”idea, which is included in this concept, envisages the participationof Riga as the ECC in any location in Latvia, where it is possibleto create and make use of existing infrastructure, promote thecreation of new work and new forms of cooperation.• The spatial aspect of border expansion includesinterdisciplinary approach to changing the understanding of theconcept of culture, developing an open infrastructure, necessaryfor creative expression in various spheres of life, previouslyconsidered as not belonging to culture, and promoting thedevelopment of creative industries in Riga and Latvia.• The idea of border expansion sees Riga as a geographicaland cultural transit city, attracting creative people from otherplaces of the world, who would contribute to the developmentof a creative environment in Riga. Culture becomes not just aresource for participation, but also a significant instrument for thedevelopment of political, economic and diplomatic ties thanks toRiga’s geographic location and historic cultural ties – a bridgebetween East and West.border expansion time aspect• The concept of border expansion from the time aspectincludes predicting – what will be in six, ten years, who will be thepotential users of culture and participants of the creative processin 2014 and in the long-term, focusing attention on work withpotential target audiences already today.• Border expansion from the time aspect includes work with ageneration that is open to other, untraditional forms of the use ofculture, leading us to research and predict, what forms of culturethe younger generations are using now, in their formative years,and what could be their development in the future.• Border expansion from the time aspect includes predictionin the context of demographic changes and economic globalisation.• Border expansion in a dimension of time confinement –accessibility of culture at different times of the day and night,which opens up a new dimension of perception and culturalexperience.* Focus group comments22 23

The theoryexists that atthe base ofcommunicationbetween anytwo people is:you for me – mefor you. Thereis no such thingas disinterestedcommunication.That would bethe highestlevel ofcreativity,if we were allable to talkabout clearthings in clearlanguage.”The newest moderntechnologies helpinterest groupsincorporate into acommon culturalprocess and promotethe accessibility ofthe field of cultureto each and every,which relates to theexpansion of borders.We live in a time that could be described as waking up from the globalisation.Liberalism that stimulated it is going out of fashion. Different crises - rise of fuelprices, the growing food prices, climatic threats, the looming regional conflicts– are waking us up from the dream (nightmare) of globalisation and we feel thateverything must change: economy must become environment-friendly, industrialproduction – science-consuming, food – healthy, lifestyle – sustainable, politicsresponsible and the society – cohesive. The globalised markets will have tocontract and regain a part of their rooted-ness and local-ness.We are a fairly diverse society. The new solution,creativity, is in the search for common points of contact.Creativity isn’t in ethnic difference, but in the comingtogether and creation of a new world.Development is born in the depth of the individual, butit also springs from the collective spirit. If one of these ismissing, development leaves much to be desired.forms of interaction• In recent years the consumption of culture in Riga has increased.Research indicates that the majority of Riga’s inhabitants are satisfiedwith the level of possibilities available to them to attend culturalevents, but the tendency towards a transitional society that resultedin alienation, disassociation, loss of social ties, has completely excludedcultural instruments such as new cooperation forms.• Creativity through the idea of border expansion will promotewide cooperation between individuals, city areas, suburbs, generations,towns, regions, countries. Riga, with its human capital andinfrastructure, will promote the creation of this form of cooperation.Cultural events are a self-evident part of Riga’s programmefor the ECC project, however, the main goal is to trigger a processin which the consumers of culture would also be willing also totake an active part. Thus, the main task is to create new forms ofinteraction to help involve new audiences.• Making use of the potential of creativity, imagination and cooperation,it is possible to create networks around Riga, includingindividuals, institutions, businesses, towns and countries insearch for forms of cooperation, creating the possibility of newcooperation forms through new infrastructure facilities or breathinglife into existing ones.• It is important to achieve a change of focus from the consumptionof culture to participation, from a passive consumerismto a change in attitude towards any kind of creativity. This includesa re-evaluation of values in society, which means a search for newforms of interaction.• The desire for expression is typical to creativity, as well as theneed for appropriate forms of expression. It provides further impulseto seek interaction with partners sharing similar interests, in order tofind an audience for one’s skills and their evaluation. Support fornew forms of cooperation plays a cruical role in stimulating creativeskills within each and every inhabitant of Riga, making creativity themost significant force driving Riga as the ECC.• Developing forms of culture based within the audience, onmutual communication and political intention rather than onmaterial, spatial or artistic media typology, creates a platform forparticipation. The epicentre of the meaning of a work of art orcultural process as such shifts from the object to a new type ofexperience that it provokes. The dialogue between the audienceand the artist acquires the status of a work of art, participationbecomes the deciding factor in the creation of culture. Similarlyto Umberto Eco’s definition of the principle of an open work ofart, which states that a work of art is only finished when it comesinto contact with the audience, the involvement of society in thecultural process reveals a new cultural dimension.• Successful interaction is a vital component for the positivedevelopment of a multicultural and civil society. Culture, in thissituation, is a tried and tested device in promoting dialogue betweencultures and civil society.• Ethnocentricity creates a symbolically restricted space. Dueto Riga’s ethnic specifications, the possibility of dialogue betweenvarious ethnic groups exists through border expansion and creativityas a value, thus promoting an exchange of ideas, developingsociety’s receptiveness towards different cultural experiences.• Research shows that it is possible to develop a culture of philanthropyin Latvia, which would help overcome the tendency towardsmutual isolation between various sections of society and provide theopportunity for the majority of inhabitants to fulfil their human capital.• To prosper, a city needs ideas and the will of individuals, synthesisof thoughts and cooperation. New products and servicesare created not only through individual efforts but also as a resultof cooperation. It is necessary to provide opportunities for enterprising,creative people to try something new together.• The contemporary public space, which serves as a platformfor interaction, is often identified more as a psychological ratherthan a physical construction of space. The public space is alsodefined as a politicised social product, which cannot be separatedfrom conflicting social relations that are created by specificsocieties at specific moments in history.* Focus group comments24 25

• Latvia has strong informal social networks (family, friends,acquaintances). Taking into account the high level of trust in thesenetworks, they can be used as a significant resource for the promotionof forms of creative participation, and the public bringingto life of these forms in a new format that is beneficial for developmentof the city and society.• Global economic tendencies create a need to promote globalcooperation and Riga, as the most significant Baltic transit point,can serve as an excellent bridge of global cooperation betweensimilarly orientated creative groups and individuals elsewhere inEurope and the world.• With the implementation of the “Mobile Centre” principle, Riga,as European Capital of Culture 2014, becomes a kind of a Greekagora, where the most diverse scale of interaction of cultural ideasand exchange of thoughts takes place. The new cultural infrastructurefacilities (the National Library and the Contemporary ArtMuseum), construction of which has already begun, will becomea part of European and global information circulation processes,making Riga the location for new ideas, testimony of excellence,developing types of cooperation forms that would not be possiblewithout these facilities.26 27

iga’s programme 2014Culture reacts to everything that is happening, especially tosurprising and unexpected processes. For this reason we applythe legal term force majeure in the title of our programmeto provoke unexpected art developments, to create and recordnew qualities of culture born in the interaction of differentfields, to find unusual solutions to customary cultural activities,in a surprising manner to rediscover generally knownfacts about ourselves, our city and the environment that welive in and to help everyone to find unlimited inner possibilitiesfor creative manifestation.The programme of events that Riga offers for the project of theEuropean Capital of Culture 2014 is based on the ideologicalkey principles of Kult[rix]. After several months of creative discussionwith the participation of a diverse circle of expertsfrom different fields, Riga’s programme for 2014 has acquiredthe title force majeure.28 29

The world in which we live is full of change, in constant movementand development. At times it seems as though it is dragging ata snail’s pace and nothing is happening, at others we find ourselvesat the epicentre of a whirlwind, which catapults us atan inconceivable speed several steps or several lives ahead.Looking back at the messages left by history or taking a glimpseat personal experience memory registers, we have to admit thatvery often the most powerful impulse that projects us towardspositive change is an invincible force or power, which unexpectedlytransforms the usual course of events and puts the usualsystem of values to the test.This invincible force hits us without warning and influences bothglobal processes and the progression of historic events, as wellas the otherwise common and unnoticeable everyday events ofevery individual. We identify the epicentres of these invincibleforces on the map of history as collisions created by humans orby nature – revolutions, ecological phenomena, economic convulsions.The urban philosopher Paul Virilio, commenting thesemanifestations of invincible force, concludes that without clashes,without the discharging of pressure, further progress is notpossible and that the potential for collision is already encodedinto the progress of mankind itself.For most people the term force majeure, which is usually foundin the un-translated French version, probably conjures up associationswith agreements drawn up by lawyers, where the impactof an invincible force annuls whatever was agreed upon before.Force majeure acts as an unconquerable power, which transformsthe order of things and many things are no longer howthey used to be.In the current situation, which marks the end of the era of totalrationality and opens up the path to new opportunities andchallenges, the term force majeure seems very appropriate forcharacterising the situation in culture. Unexpected, but at thesame time predictable, accumulating and expanding over anextended period of time from various relationship, communicationand social tension congestions, inflated by the problemsfaced by nature on our planet, from abandonment to consumereuphoria and from differing cultural messages, for which nocommon translation has yet been found. Force Majeure releasesa gigantic flow of energy and, transforming it into creative potential,surprising and unexpected revelations are possible.Force Majeure is a catalyst and provoker of cultural events. As acandidate for the status of European Capital of Culture 2014, Riga– a city with a rich history of events, multi-cultural environmentand wide range of cultural traditions, is ready for a new challenge.The challenge of being constantly in transformation. Upwardtransformation. To strengthen the belief that culture can becomean invincible force that works as an instrument of salvation, asurvival kit, a springboard for new and bold ideas, which helpstransform the world and allows us to look at it from a differentangle. Riga’s 2014 Force Majeure will strengthen the convictionthat culture can change the lives of people and cities and improvethem, that culture is the soundly credible and invincible forcethat has the ability to direct change into a positive channel, fearinto challenge and hasardous joy, uncertainty – into trust in thecreative spirit.Your Kult[rix]30 31

programme guidelinesand structure12 34 56amber veinthirst for the ocean• human conversation, the projection offeelings onto the immensity of the universeand its existential mysteries• the relations between mortal, temporal,ephemeral man and the riddles of eternity• human relations with the essence of theworld• the trajectory of human creation, thesense of the individual path• the spiritual vertical, human strivingtowards the sublime, the unknown, and theundiscoveredfreedom street• ‘explosions‘ of ideas stimulating receptivityand cultural dynamics• the relations between culture and forcemajeure• encounters of ideas and discussions,the battlefields of culture and the dream ofa universal culture• the history of power, destruction andrenewalsurvival kit• a return to basic truths and skills, to thefundamental human needs of the future• discovering the seemingly impossible inoneself• mastering new skills and know-how,gaining experience, experiencing newfeelings• the urban dweller discovers fire again –the rural returns the townroad map• private and public space in the urbanenvironment• a brand new physical and mental circulatorysystem for the city, new and activecentres in local neighbourhoods• the anthropological textures of localspace, spaces in the town which havebeen forgotten or are unseen due to historic,social or political reasons• the marginal at the centre of attention• the accessablity of singular spacesin the cities, neighbourhood lore, localmemoryriga carnival• an invitation to dash into a giddy dance,the frenzy of games in a colourful carnival• traditions and festive rites from a freshpoint of view• the diversity of cultures and cross-culturaldialogue• a carousel of joy – event after event• contemporary communication, new cooperationnetworks and the opportunitiesthey offer• European cultural cooperationnetworks• new interdisciplinary cooperation• distinctive achievements with globalsignificance in science and cultureEvents:Events:Events:Events:Events:Events:International conferences and exhibitions,multimedia events in urban environments,cinema, concerts.Exhibitions, art and music campaigns,theatrical tours, literary readings, open-aircinema, digital laboratories, creative tradefairs.Creative workshops, seminars, researchprojects, interactive events with an ecologicalbent, art in the public space, pleinsairs, fairs, competitions, talent shows, performances,discursive events.Excursions, bicycle routes, open housedays, interdisciplinary events, creative areasin the urban environment, circus performances,events, performances in atypical spaces,anthropological documentary films.Festivals, seasonal rites, concerts traditionaland non-traditional, interactivegames.Interdisciplinary expeditions, presentationsof the distinctive, international photographycampaigns.32 33

34thirst for the ocean

thirstfor the oceanYearning for the ocean is a yearning for eternity. Human speech,the projection of feelings onto the immensity of the universe.The existential mysteries are reflected in the human. The oceanof cognition is both perceived reality and the human to his orher self. These mysterious relations between temporal, ephemeral,mortal human beings and the mysteries of eternity – thehistory of the all – cannot be settled once and for all. These arepossibly the most enduring – and at the same time the mostdynamic – relations in human life.Approaching the ocean of consciousness, cognition and the unknown,the human is alone, without ancestors, children or home toback him or her up. The relations with the essence of the universe arethe relations of the vertical to the horizon. Latvians live on the coast ofthe Baltic Sea, linked to the oceans only by the North Sea. Kārlis Skalbe,one of Latvia’s foremost lyric poets, in his philosophical fairy tale “HowI Sought the Girl of the North” and in his first poems, writes dreamilyof the sea despite having seen only Alauksta Lake at the time. Humanyearnings, dreams, and longings for transformation and for the neware ambivalent. In their temperament, they bear resemblance to a cravingto merge, to adapt and to dissolve in the primordial motherland.The ardour with which people strive for new horizons resembles theobsession to create. The spiritual dimension is as vital as the experienceof the senses and the rhythms of consciousness and the subconscious.Thirst for the ocean embrace not only the promise of distanthorizons (Dullais Dauka, the daft but heroic creation of the writerSudrabu Edžus, strode toward the horizon to find out what was onthe other side) but also a craving for unfathomable depths (the greatLatvian poet Rainis: ‘Where did you find such stupendous words? –I stared out to sea for some time’).What does it matter if the Baltic Sea is composed of slightly salty waterin which few species swim, needing to adapt to water that is neithertruly sweet nor really salty? Is that where musings on Latvians beingadaptable begin? Does the shallowness of the sea determine thedepth of yearning for the ocean? For Skalbe, the lake was enough.Thirst for the ocean is part of the trajectory of coming into being. It isunique for each individual. Latvians, thirsty for sunlight, saw signs in theplay of the sun upon the waters, taking that path in their folklore and in art.What is beyond the horizon? Where does the ocean end? Is yourfreedom – the freedom you search for but must make for yourself – tobe found there? Does it reflect your standing by the sea, vertical againstthe horizon? Or is the ocean as infinite as your being? Strangely,no one competes with you in walking this road. No one opposes you.Everyone for himself – the archipelago of the Baltic Sea.36 37

the book, 1514-2014Massys, Quentin. Der Goldwäger und seine Frau. (1514)‘I stare at the textual field on my friend’s screen and I am unpersuaded.Indeed, this glimpse of the future–if it is the future–has me clinging all the more tightly to my books, the very ideaof them. If I ever took them for granted, I do no longer. I nowsee each one as a portable enclosure, a place I can repair to torelease the private, unsocialized, dreaming self. A book is solitude,privacy; it is a way of holding the self apart from the crushof the outer world. Hypertext – at least the spirit of hypertext,which I see as the spirit of the times – promises to deliver mefrom this, to free me from the ‘liberating domination‘ of the author.It promises to spring me from the univocal linearity whichis precisely the constraint that fills me with a sense of possibilityas I read my way across fixed acres of print.‘Sven Birkerts, The Gutenberg ElegiesThe opening of the new Latvian National Library building isplanned for 2013. It will be more than just a significant Europeancultural event in architecture – Riga will be the European bookcapital in 2014. After moving to its new premises, the LatvianNational Library is going to organise a large-scale book exhibit“The Book 1514-20014“ (Grāmata 1514-2014), dedicated tohumanity’s history in reading over the past 500 years. Manyunique books will be brought to Riga. An international conference“The Content of the 21 st Century” is also planned. SvenBirkerts – the American writer and literary critic – has been invitedto be the patron of the conference. He happens to be the son ofthe architect of the most significant building to be built in Riga inthe years since the restoration of independence - the new NationalLibrary. The theme of the conference will be the history of reading.Among the participants expected are the Nobel Prize laureatesin literature V .S. Naipaul and Imre Kertész; Harold Bloom, one ofthe world’s leading literature critics; the linguist Noam Chomsky;the philosopher Alexander Piatigorsky; the writers Umberto Eco,Tatyana Tolstaya, Václav Havel, and Jānis Krēsliņš; the foundersof Google, Larry Page and Sergey Brin, and other luminaries.The conference will take place at the same time as the opening ofthe exhibit “The Book” 1514-20141514 is unique in the history of the European book. It is the agewhen the printed book has already stepped out of its cradle(incunabula in Latin). The next era has begun with its brightestsigns – the high Renaissance and the Reformation. The bookloses the features of a manuscript and new traditions in printingand publishing emerge – it is the time of the appearance of titlepages, illustrations (engravings), printed works in local languages,printed music scores, etc. 1514 is the very special year that marksthe border between the passing and the coming ages.Hartmann Schedel – the author of the “World Chronicle” (1493) –dies in 1514. Notably, it is in this year that the Abbot of TrittenheimJohannes Heidenberg publishes his inventory of books printedsince Gutenberg’s invention came about, abate Tritemioscrive la Cronaca Irsaugense che reca importanti precisazionisull’invenzione di Gutenberg. This year brings forth several outstandingworks by his contemporaries. At least six (!) books byErasmus of Rotterdam are published (Parabolarum and others).It is very likely that the manuscript of Till Eulenspiegel was beingprepared by a typesetter to be printed in the following year.Also in the year 1514, Copernicus mentions his work on developingthe description of heliocentric system in the manuscript“Small Commentaries” (Commentariolus) that he distributes to hisfriends. Several engravings by the distinguished Albrecht Dürerappear (Melencolia I, Der heilige Hieronymus im Gehäus). Thebooks of John Rastell also should be mentioned, as well as thepapal bull of Leo X (1475—1521) and the letter of England’s KingHenry VIII to the Pope.The range of books in 1514 includes classics (at least nine worksby Cicero, three by Ovid, five by Plautus, two by Pliny, four byVirgil, as well as works by Aristotle, Horace, Plutarch, Ptolemyand Seneca), the famous Biblia Poliglota, and Avicenna’s Florescollecti superquinque Canonibus quos adidit in medicina (Lyons)as well as works by the Renaissance master Boccaccio and byJoannes Eckius (Johann Eck) – the future ardent antagonist ofMartin Luther – who writes about the coming years. This is oneof the brightest years in the era’s art of printing. 1514 sees the appearanceof books printed by Aldus Manutius (1449/1450—1515)in Venice (Scriptores rei rusticae), the Athenaeus of Philippus andLucas Antonius Giunta in Florence, Cicero’s letters to Atticam,Johann Froben (c. 1460—1527) sheltered and published Erasmus38 39

1514, becoming the pastor of the congregation in Limbaži. TheCzech translator Pavel Stoll discovered that some of the songsRamm is renowned for translating were written by Jan Hus. TheMoravian Brethren movement that would be hugely influentialamong Latvians in 18 th century southern Livonia (now Latvia) wasinspired by Hus. The book Christi ab incarnationis by Jan Huswas printed in 1514 by Weissenburger in Landshut. Also in 1514,the manuscript of Дзесяціглаў was completed; Frantsisk Skarina,born in Vitebsk and acquainted with Riga Baltic Germans, wouldpublish it in Vilnius in 1522.A few hundred publications from 1514 are held in the collectionsof national and university libraries. The Latvian National Librarymaintains close contact with the keepers of these rare volumes.The library of the Duke of Courland, for example, is currently inthe National Library of Finland and was formerly at the Universityof Helsinki. The Latvian National Library intends to locate othercopies of works published in or connected to 1514, appropriate tothe exhibition in the new library building in 2014. The exhibition willalso tell of other ancient libraries that existed five centuries ago.There is no doubt that 2014 will see the publication of a host ofbooks across the globe – many more than were printed in 1514!In cooperation with the finest publishing houses in Europe, an exhibitionof the best books, atlases and albums printed in 2014 isalso being planned.Bitwa pod Orsząin Basel, Henri Estienne (1460?—1520) printed Arithmetica decemlibris demonstrata in Paris, Wynkyn de Worde worked in London. Itwas in 1514 that Aldus Manutius introduced the use of blue paper.The first book in Arabic letters was printed by the brothers DeGregori Fano in Italy, and Erhard Oeglin produced the firstHebrew typesetting in Augsburg in this year. A Torah was printedin Constantinople, and Ottaviano dei Petrucci completed the publicationof the eleventh series of scores in Venice. 1514 also sawthe introduction of “+“ and “–“ signs.It is also held that the first book printed in Polish appeared in 1514rather than 1515 as commonly believed. Soon after victory overthe Russians at Smolensk, a letter of Sigismund I to Pope Leo Xwas published.With regard to Riga, it should be noted that this is the year theprinter Joannes Badius Ascenius produces the “Danish Chronicle“of Saxo Grammaticus (c. 1150-1220). This history of Denmark isone of the most important sources on the early history of what isnow Latvia. The “Saga of Hadingus“ tells of a Danish Viking andhis blood brother, who make war upon the Couronian chieftainLoker. The Couronian leader defeats them and captures them.Escaping, Hadingus craftily seizes a city on the Daugava, takingits chieftain hostage and asking for the chieftain’s ransom in gold.In the Saga of Frodi, raids on the Baltic region are described.The first book in Latvian is printed in 1525. The first librarywas established a year earlier. Both of these events are linkedto Nikolai Ramm, the pastor of the Latvian congregation at St.James’s Church in Riga – he arrived in what is now Latvia inThe dawn of the electronic age, digital environments and digitallibraries has led some to dub our era the Second Comingof Gutenberg. The technical environment that affects informationflow, knowledge, cultural values and the dissemination of ideashas changed as radically as it did five centuries ago. Handwrittenmanuscripts were replaced by printing, just as the computer keyboardhas shifted the world of words now. Drawing met engraving– today computer graphics of all kinds come into play. The printingpress took the place of the scriptorium – the great ‘scriptorium’today is the World Wide Web. The king, however the Content, isstill king.What: International conference and exhibition.Where: Latvian National Library.When: Exhibition throughout the year; conference in April.Concept author: Andris Vilks, Director of the Latvian NationalLibrary.Organisers: University of Latvia; Latvian National Library.Danorum Regum heroumque Historiae, Paris 151440 41

sound 2014The art of sound, by contrast to music,which is a consecutive distributionof sound in time, is an ‘architectonic’intervention in the environment. Thisproject offers a guide in today’s urbanjungle of the world of sounds, thinkingof new forms and manifestations of theinteraction between sound, architectureand space, vitalizing and enliveningforgotten spaces in innovative anduntraditional ways.Modern technologies help the art of sounderupt. At the core it is placement, the musicalizationand execution of the environment.Creating a composition for citychimes, for example. Trees and buildingscan be equipped with sound effects. Youcan play around with urban sounds. Justas well autonomous sculptural pieces canbe created in open space. Sound and lightshows have become very popular.It is also possible to get to know the inaudibleurban sounds by unarmed ear. It canbe done with a specific technique. For example,the sounds of an electromagneticfield or of an empty room – creating a compositionout of them. There are performerswho operate with inaudible sounds onle.The German artist Christina Kubisch orDanish artist Jacob Kirkegaard work withvery sensitive microphones to record thesounds of the northern lights, of ice andof the abandoned zone at Chernobyl. Therecorded material can be turned into beautifulcompositions.The art of sound can be created in specialspaces, creating performances particularlyfor that space. For example, inchurches, castle ruins, in shops or at thetrain station. A sound ’architecture’ can becreated, changing the sense of the space.It is possible to interactively play with thefrequencies of sound. For example, usingthe Geiger counter, which measures humanradiation and converts it into a sound(Finnish performers Tommi Gronlund andPeteri Nisunen).Within this project there will be a soundart exhibition where single objects will becreated especially for and inspired by aselected space. The concept of force majeuremanifests as the impossibility to escapeand dissociate oneself, as the urge toexpress the current and to reflect on reality– to be present. The nature of the art ofsound can accomplish that as perfectly asit can co-operate with the existing environmentand create a new one.Within the project the art of sound will bepresent in the city environment, using andintensifying the existing elements of thatenvironment. At the same time the artworksof sound will be created for specialspaces. The performances of the soundartwork or innovative music along with newmusic concerts (dancing and listening music)will show that the boundary betweenmusic and art of sound is a mere convention.The art of sound will become moreaccessible to more people.What: Sound art exhibition.Where: Urban environment and unconventionalexhibition spaces.When: September.Concept authors and organisers: Skaņumežs – Viestarts Gailītis, Zane Dātava,Ernests Ansons, Renāte Auziņa,www.skanumezs.lvCooperation partners: NUMUSICfestival (Stavanger, Norway),Transmediale Festival (Berlin,Germany), ZKM (Karlsruhe, Germany),SpongeArteContemporanea (Italy),Jauna Muzika (Lithuania), and others.sacred musicfrom sunset to sunriseEveryone has experienced a momentof clear night without any cloud in thesky or any wind blowing. Suddenly theskyline dissolves and you cannot tellwhich of the stars are just reflectionsin the ocean and which ones shine inthe sky. The ocean starts to breathein time with the universe on the nightof the sacred music concert in DomeCathedral, in the Dome Garden andDome Square.The Dome Cathedral complex can providean exclusive concert, which can be enjoyedfrom three different perspectives. Inthe Dome Cathedral there is a concert forthose who want to experience the acousticarches of the Cathedral. There will bea specially designed zone in the DomeGarden where the concert will be broadcaston big screens and good acousticsare guaranteed. Original special effectswill be created by the lighting design. InDome Square, the atmosphere will bemore open/democratic. In the city environmentthe concert can be enjoyed by freelymoving about, choosing specific compositionsor certain performers in the concert.The musical heritage of Western Europeis as boundless as an ocean. The programmeof the concert will be structured inthe form of an archway rondo - internationallywell known large-scale compositionsare combined with original pieces and organsolos.At midnight Rachmaninoff’s Vigilia will beperformed. The programme may includeBruckner’s, Kodai’s or Mendelssohn’sTe Deum, and the Urtrehtas Te Deum ofHandel. There are plans to commission awork by Pēteris Vasks as well as to inviteGidon Kremer and Kremerata Baltica andinternationally known solo artists fromLatvia and abroad.What: Concert.Where: Riga Dome Cathedral, Garden andDome Square.When: AugustConcept authors: Māris Ošlejs, State Choir“Latvija”.Cooperation partners: The Dome Cathedral,composers, Latvian and European soloists.42 43

eaming riga 2014Our ancestors believed that light is asubstance and that it can be poured,cut into pieces, stuffed into a sack, orcollected in a Castle of Light… thatone can build bridges from light andthat light can be given to others as apresent. This conviction is nicely illustratedwith a funny story about peoplewho built a house without windowsand then tried to fill it with light usingbuckets and sacks.The festival of light “Beaming Riga” (StaroRīga) keeps proving the enduring truth ofour forefathers in artistic ways – light becomesthe material of artwork just as paintbrushes,colour, canvas, stone or bronzehave been media for art. In the year 2014,all of the themes of the programme will betouched upon, but the festival will primarilybe dedicated to the theme “Thirst For TheOcean”.As the sea may dream of becoming anocean, the Riga Canal wishes to be asgreat as the Nile or the Amazon, and eachfountain in the city – as swift as a torrentialmountain spring. The festival of light“Beaming Riga” has enough resources tofulfil these dreams at least for few days.Powerful light and sound effects will transformthe waters of the city – the fountains inthe Vērmanes Garden, the Esplanade andthe Opera Square, and also in the RigaCanal, bringing to life fantastic sights onan incomparable experience.“Freedom Street”, one of the themes in theRiga programme, is a very important arteryfor the city. The festival of light “BeamingRiga”, being a recent and ambitious processin the urban environment, plans tobathe the street in coloured light andvideo projections. The street will be oneof the routes of the festival – overlookedelements of architecture, buildings andparticular details of the urban environmentas well as previously concealed innercourtyards will be unveiled by the artistsof the “Beaming Riga” festival. The avenueopposite the Cabinet of Ministers, the RigaDistrict Court building, the Central Library,a typical Art Nouveau building, the DaileTheatre, the Vidzeme marketplace, theNew St. Gertrude’s Church and Air Bridgeare just a part of the wide range of interestingsites on this street. The latest technologies,a broad range of lighting systems,video and real fire will turn Freedom Streetinto the artery of the festival.The “Road Map” will help one find one’sway to “Beaming Riga” performances inthe Riga neighbourhoods. For example,festival artists will create light performancesand installations in the parks of Āgenskalns– in Arkādija Garden, the Youth Garden,Small Arkādija’s Garden, Māra’s Garden,Meteor Garden and Victory Park. The playof light will uncover the Neogothic buildingsof Pauls Stradiņš’s Clinical Hospital.A very special show will be awaiting atMāra’s Pond, where with the help of lightand projections an illusion of the historicalbuilding of the Māra’s Mill will be created.This mill was the first known building inĀgenskalns and the Pārdaugava area ofRiga and is mentioned in historic chroniclesfrom 1226.Everyone has heard stories about thelegendary Amber Room – one of the biggesttreasures from the castle of CatherineI, Peter the Great’s wife. The Amber Roomwas lost during the World War II and noone has succeeded in finding it. The lightfestival “Beaming Riga” will let one find theAmber Room in Riga – inside the RailroadStation tunnel.The Old Town – the oldest part of Riga –will turn into a maze during the “BeamingRiga” festival. The narrow streets disguisedby lights will confuse even the true OldRiga experts and make them look for theright way out. Then the “Survival Kit” willbe of good use!A whirl of events will await the spectatorsat Dome Square. “Riga Carnival” – in asequence of moving light projections onthe walls of the buildings surrounding thesquare, the history of the city will be presented- the past, the present and even thefuture.What: Multimedia light installation festivalin the urban environment.Where: Sites throughout the city.When: November 14–18.concept authors: Diāna Čivle, Mārcis Gulbis,Guntars Kambars (www.staroriga.lv).Organiser: Riga City Council, Departmentof Culture44 45

adio riga onlineThe “Radio Riga Festival” offers achance for every resident of Riga to finda concert to his or her taste and to meettheir favourite musicians in person at aconcert venue that is near to them andaccessible. In cooperation with LatvianRadio, the music most loved by the peopleof Riga will be heard all over Europe.re:visitedCan you follow everything that happensin the world and feel yourself involved ingreat events and processes? Perhapsthe world could be brought to us… toshow what is most recent, fresh, and important,let us join the common context,and become part of the great ocean ofart. The most significant and newest artworkfrom the most prestigious art biennialsof the world will be in Riga.Within this project it is planned that a selectionof the newest artwork will be brought toRiga in order to introduce Riga residents tothe latest trends in contemporary art. ThisThe “Radio Riga Festival” will gather famousmusicians in Riga - those who begantheir musical career in Riga but gainedfame and glory in the greatest concert hallsof the world: conductor Mariss Jansons,cellist Mikhail Maisky, singers ElīnaGaranča and Egils Siliņš. We will hear theirvoices in several concerts at the LatvianNational Opera, the Great Guild Hall, andthe Dzintari Concert Hall. The special featureof this festival is the live broadcast ofthe concerts to all European countries providedby Radio Latvia.The main event of the festival is the concertof the Bavarian Radio SymphonicOrchestra conducted by Mariss Jansons.Symphony concerts, vocal symphonic musicconcerts as well as opera productionswill be staged in Riga and at the Dzintariconcert venue with the participation of theLatvian National Symphony Orchestra, theLiepāja Symphony Orchestra, the EstonianRadio Symphony Orchestra, the LithuanianNational Symphony Orchestra, the StateChoir Latvia, the Latvian Radio Choir, theEstonian Philharmonic Chamber Choirlarge-scale exhibition will be composedof the most noticeable objects selectedfrom the most significant art biennials. It isa commonly known fact that art biennialsserve as indicators of the art process, theyreveal new trends and present young andpromising authors.The most prestigious biennials of 2013will be surveyed – the 55 th Venice Biennial,the 4 th Athens Biennial, the 13 th IstanbulBiennial, the 12 th Lyons Biennial. Usuallyonly a small circle of professionals andinterested people manage to visit all thementioned biennials and keep track of thedevelopment of contemporary art processes.This project would bring a selectionof the latest outstanding artwork to Riga,and the Kaunas State Choir. The chambermusic and choral music concerts will takeplace in the Small Guild and in culturalcentres in the vicinity of Riga.Jazz music concerts will be held in Riga’ssuburban cultural centres with participationof musicians from Latvia – MārisBriežkalns Quintet, soloist Intars Busulis,“Riga Groove Electro” with soloists JolantaGulbe and Deniss Paškēvičs, SilvesteriOrkesteri and “City Jazz Bigband”; fromLithuania – Dainius Pulauskas Group,“Kaunas Bigband”; as well as from Estonia– “Guitar Weekend Trio”, “Nordic Sounds”with Villu Veski.What: Festival.Where: Riga and environs.When: June.Concept author: National Concert Agency.cooperation Partners: Ministry of Culture,Riga City Council, Department of Culture,Latvian Radio, municipalities.and would serve as a unique apportunityfor cultural education that would makethe international contemporary art sceneaccessible to the general public in Riga.What: International exhibition .Where: Riga Art Space or other largeexhibition hall.When: April - July.Concept authors and organisers: LatvianCentre of Contemporary Art.“2annas” 2014No idea or event can last withoutan inner drive or a wish to expresssomething. Therefore, when selectingfilms for the “2Annas” competitionprogramme, we search for works withan individual and unique signature,creativity, aesthetic and technical performancecorresponding to the artisticidea. Above all, we crave the feelingthat without creating this film, the filmmakerwould not be able to fulfill him/her-self or even live on. These worksare created by some invincible forcewhich is an inner urge to express oneselfintellectually and spiritually.The aim of the project is to popularise thefilms of young European and internationalfilmmakers as an alternative to multiplexmainstream cinema products. It is anopportunity to see the development ofin the beginingwas the wordMan possesses a natural urge to namethe ongoing – the felt, seen, heard andexperienced. By explaining and definingit, what is experienced materialises,coming into existence.The central idea of the project is based on thescriptural description of the beginning of theuniverse. By analogy it is transferred to culture,especially to literature, which precedesdevelopments and describes the atmospherebefore the events actually take place. Wordsand language create a rhythm, challengingthe music. The motets are distinctive with asacred form and contemporary content; inFrench the word mot means “word”.Baltic films as an art form and place theirtrends in a global context; to platformthe works created in the Baltic region bycreating an appropriate environment - aplatform for developing new ideas and cooperationprojects.In 2014, the festival “2Annas” will takeplace for the 19 th time. From being a youthfilm competition, has grown into a noteworthyinternational event amongst studentsat film schools all over the world, forEuropean creative alliances, and for newfilm directors. It has become a stellar eventin Latvian cinematography.The festival programme includes an internationalcompetition, a Baltic short filmcompetition, special programmes, andeducational audio-visual lectures, musicand audio-visual performances.The festival offers debut films made bythe young professional filmmakers – theIn the framework of the project, 8 knownforeign poets create contemporany sacredtexts, 8 acknowledged foreign composerscreate motets. The multimedial premieresof the original pieces will end the “SacredMusic Festival” and lead into the “PoetryDays”.What: Concert of original work, festival.Where: St. Peter’s Church.When: Beginning of September.concept Authors: Inga Bodnarjuka, IevaVītiņa, Māris Ošlejs, Māris Sirmais, IevaKolmane.cooperation Partners: Latvian WritersUnion, State Choir Latvija.representatives of national cinematography.It also enables us to enjoy the latesttrends in European films. The magnetic atmosphereof the festival stimulates the exchangeof ideas between Baltic and otherEuropean young cinema enthusiasts andwill help the new directors on their journeyto the professional level.What: International short film festival.Where: Cinema K.Suns, Cinema Rīga, theRiga urban environment.When: May 25—31.Concept authors: Viesturs Graždanovičs,Mārīte Lempa, Dana Indāne,www.2annas.lv.Organisers: Centre of Creative LearningAnnas 2 and Virtual Studio Urga.cooperation Partners: Hannu Pro.46 47

48freedom street

freedom streetWhen a ruling power changes, and in European history thishas usually happened after a revolution or war, the firstthing that power does is to change the names of streets.Freedom Street, within the context of the Riga as EuropeanCapital of Culture programme, is not just the story of astreet. Freedom Street is a symbolic stage, a system ofsigns, a tale of history and wars, which we can say onlyended yesterday, even though perhaps a whole century haselapsed.The “Freedom Street” programme which refers to the centenaryof the 1 st World War, is intended as a story of collisions, which peoplewho live in any city in any place in the world experience. Riga’shistory is one such space for collisions, where echoes of globalhistorical events can be found. Over the entire course of the 20 thcentury Riga has found itself in postwar-prewar relationships, orloser-winner relationships, but the local people’s memories of historicalevents have not been inherited – they are alive and real, justas in the consciousness of many Europeans.Freedom Street has experienced a lot. Power and war have alwayssought acknowledgement in this street, changing or not changingits name. Freedom Street is the axis of the city of Riga, the mainstreet (Via Magna), which has been called Large Sand Street,Aļeksandrovskij buļvar, Petrogradskoje šosse, Revolution Street,Adolf Hitler Strasse, Lenin Street and finally – Freedom Street oncemore. In 2014 the street will regain its historic names in the formof artistic events along its entire length, above all stressing theinvaluable virtue of freedom and democracy.Freedom Street is the stage for the history of global power. Itis the story of one European city’s and its inhabitants’ relationshipwith power – invincible and at the same time overcome. The1 st World War, which dates back 100 years before 2014, and itsconsequences, in the interpretations of many European historiansends around the time when Riga’s main street retrieved itsname of Freedom. In 1914, Riga was one of the group of citiesthat formed part of the indisputable European prestige, which,together with the 1 st World War, Europe lost, leaving indelible consequencesin the consciousness of Europeans. Riga, in war-time,has always been drawn in between other powers. And FreedomStreet is also this type of axis - between East and West, betweenother powers. Freedom Street has experienced several wars –First World War, Second World War, Cold War, Singing Revolution,August 1991 putsch. Many military forces have entered and leftRiga via this street. War has its reflections in the cultural code ofEurope, which has also defined cultural mobility, destroying andcommanding resurrection anew. It has always exploited the cityfor its own gains, demonstrated itself in the main street of anyEuropean capital city. In a way, for Riga, the 1 st World War endedin 1991.Prewar and postwar periods have taken European culture, homes,places, people, generations, stories, memories, monuments andspirit, facilitating progress and always – on someone’s account.Freedom Street is a stage for both destruction and renewal. Thefeminine and the masculine. Collisions and war never end, theyjust continue the search for fresh forms of acknowledgement. Thegreatest philosopher on freedom in the world, Sir Isaiah Berlin, wasborn in Riga and taken for walks by his nanny on the Esplanade byFreedom Street (then - Aļeksandrovskij Buļvar). Paradoxically, hischildhood promenade place, the Esplanade, during his lifetimeand later, became the location for military parade rituals. Freedomis a symbol and a value, which becomes these things preciselyas the result of an invincible force (force majeure). When Berlinwas asked whether the focus of his thoughts was influenced bythe fact that he was born in the Russian province of Riga duringits period of sophistication and peak period of development andafter leaving Riga experienced the revolution in Petersburg, hereplied that this was undoubtedly true. A place always leaves itsimprint. Freedom is this city’s captive name.Freedom Street continues to be the symbol of power of its time.Where once radios were manufactured people now exercise,where once matchsticks were made people now shop and goto the cinema, the place where once people who thought differentlywere captured is now abandoned and awaiting the decisionof the powers that be, where once stood a statue of Leninnow stands a Christmas tree, where once the statue of Peter I –now the Freedom Monument. “Freedom Street” is the story of thebonds of love between the street and the calculations of powerover a period of several centuries. “Freedom Street” is the sceneof tragedy, theatre, rural and urban events, politics, art, travel, arrivals,departures, transit passengers and motor vehicles, marketsand philosophy.The 1 st World War and its traumatic nature in the consciousness ofEuropeans initiated a new wave of monument construction. Themonument became a new form of 20 th century European historyand ideology. In Riga, as one of the settings of war, monumentshave always battled and been the ritualistic embodiment of thecombat between ideas, the fruits of the writers and re-writers ofhistory, the embodiment of the consciousness of the winnersand the losers. When the 1 st World War broke out monumentswere evacuated from Riga. Amongst the evacuated monumentswere the statues of Peter I and Barclay de Tolli, J. G. Herder’sbronze bust and the bronze adornments of the Victory column.Some of the monuments were lost during evacuation (Barclay deTolli’s statue), the statue of Peter I sank together with its boat, andafter the war the adornments of the Victory column were neverreturned.The battle of monuments has always continued in Riga, initiatingarguments as to what should be pulled down and what erected.Out of all the monuments evacuated during the 1 st World War, onlythe bronze bust of the German thinker and Lutheran minister inRiga, J. G. Herder returned to its place. Herder was the one whowas driven by the conviction that no universal truth exists, but thatdifferent cultures have different answers to various principal questions,which themselves vary for different cultures. Every culturehas its centre of gravity, its point of reference; there is no causefor one culture having to fight another. Herder was the one whoconsidered that adherence to a culture unites groups of people.Riga is the battleground for these differing cultures, with a dreamof universal culture. The “Freedom Street” programme, within thecontext of European Capital of Culture, will be the location for theencounter of ideas and discussions, where monuments, ideasand truths from various periods will fight amongst each other,and will take over the pedestals of past and present monuments.Poetry battles, concerts, theatre performances, exhibitions at thefoot of the Freedom monument, by the statues to the greatest20 th century Latvian poet Rainis and the statue Barclay de Tolli,monthly artistic events at the former location of the monumentto Lenin – creating living, physically accessible monuments freefrom ideology, against which no-one has any objections. The“Freedom Street” programme will include rituals of regret, truce,commemoration and forgiveness in the form of culture.The European Capital of Culture “Freedom Street” programmewill reclaim premises that haven’t been available to the generalpublic, but whose historic existence is directly linked to the 1 stWorld War. In 1915, with the approach of the First World War frontline,Riga’s factories and manufacturing plants were evacuatedto Russia. The evacuation mainly affected Riga, where 59% of allLatvia’s enterprises, employing 79% of all workers, were concentrated.Evacuated enterprises included the wagon manufacturersFenix, Russian-Baltic wagon factory, shipbuilders “Lange andSon”, the largest rubber plant in Russia Provodņiks, and the factories“Unions” and “Felzer and Co”. The evacuation of factoriesand manufacturing plants incurred huge losses for Latvian industryand for Riga in particular. Thirty thousand wagons were usedto transport machines and machinery, raw materials and means oftransport, church bells and copper roofs at a value of 186 millionroubles. Some of these manufacturers were located directly onFreedom Street. In 2014, these former factory territories will betransformed into locations for cultural events.The “Freedom Street” will be an explosion, with reference toProfessor Jurij Lotman of the Tartu School of Semiotics, who comparedculture to an explosion, accentuating its dynamic, openand unpredictable nature.Today, the pillars of an old bridge that can be seen on the RiverDaugava next to the Railway Bridge remind us of the war-time explosionsthat destroyed bridges during the First and Second WorldWars. The task of the European Capital of Culture programme isto seek out the “explosions” of thought and culture that stimulateits openness and dynamics. In the place of the exploded bridgeartistic campaigns will symbolically construct a cultural bridgeover the River Daugava to the National Library, where the world’ssemiotic experts will discuss the relationship between culture andinvincible force at a conference.50 51

zeppelinScientific innovations have alwaysserved in the war industry. One of thesigns of the time of the First World Warwas t he dirigible, which in L at via is k nownas the Zeppelin. The “Zeppelin” willbecome the symbol of the “FreedomStreet” part of the programme.In 2014, the symbol of the “Freedom Street“programme will be a dirigible flight, whoseinventor Count General Ferdinand Zeppelinis closely connected with Latvia. In 1889,he announced the patent for his inventedairship or dirigible balloon. At the beginningof the 20 th century Count Zeppelin wasa regular visitor to Vecgulbene, becausehe was married to Izabella, the daughterof the owner of the manor named Wolf.Very soon German manufacturers saw thepotential of the invention and began to financefurther improvements for the use ofthe ship. Germany was preparing for warand this provided profit opportunities formanufacturers. Zeppelin’s invention wasadapted for bomb carrying. In the summerof 1915, when Courland had already beencaptured, the Germans built five reinforcedbearslayer’s battleby the daugavaIn the classics of Latvian literature andcinema “Bearslayer” is the symbol ofthe eternal battle for freedom. Thiswork, which is rooted in Latvian mythology,incorporates the eternal polarityof the good and the bad.One of the culmination points of the“Freedom Street” programme will be therestoration and demonstration on one ofRiga’s bridges of the legendary and, forconcrete hangars to house the airships inVaiņode. At nightime they lifted off withtheir bomb consignments and flew tothe Russian positions. In 1915, one darkOctober night, German dirigibles, whichare commonly known as Zeppelins, tookoff from Vaiņode and flew over Riga anddropped a bomb consignment onto thecrossing of Marijas and Avotu streets.After the First World War – Latvia’s initialperiod of independence – all five hangarsin Vaiņode were dismantled and installedin Riga, where the Central Marketis now located. The anticipated dirigible orZeppelin flight over Riga is intended to bea symbolic event, a reminder of the bondbetween power, science and technologyin European culture. The Central Markethangars would become a location forEuropean Capital of Culture events – in thecontext of war and market relations.War and market relations are of equalvalue to war and science relations. Withinthe framework of the European Capital ofCulture programme it is intended to orga-nisean international creative industryannual market in the pavilion of the RigaCentral Market. At the weekend, creativeLatvian cinematic history, significant film“Bearslayer” (1930, director AleksandrsRusteiķis), which has been entered intothe Latvian cultural canons of cinema.“Bearslayer” is the first notable achievementof national cinematography and,for its time, an innovative union of alarge-scale production and historic document.A restored copy is being made forthis silent movie. The National ChamberOrchestra Sinfonietta Rīga, in cooperationwith the composer Kristaps Pētersons,who is composing music for the silent film“Bearslayer”, will perform the live accompanimentof the film at a special cinemaconcert by the Daugava.industries will fill the former 1 st World Warmilitary object with products that havebeen created as an alternative solution tothe power of global economics and consumerculture, demonstrating solutions tothe relations between culture and changesin power.The Kult[rix] dirigible will also be like asingular antenna for impulses from ECCevent locations. The dirigible will digitallycapture and process the physical andenergetic field information of ECC events.In cooperation with the media, the publicwill regularly receive the ECC’s energeticimpulses.What: Installation in an urban environmentand digital laboratory, Creative industryannual market.Where: ECC event locations, CentralMarket.When: All year.Concept authors: Riga’s ECC task group.Organisers: Riga Central Market incooperation with creative industryrepresentatives.What: Film, concert and multimedia event.Where: Banks of the Daugava or on one ofits bridges.When: August.Concept authors: Kristīne Matīsa, AgneseZeltiņa, Kristaps Pētersons, GundegaŠmite.Organisers: National Film Centre of Latvia,Riga Cinema Museum, Union of LatvianComposers.Internet resources: www.lks.org.lv,www.nfc.lv.52 53

noisy neighboursClashes of power, conflict zones arean inescapable part of the reality ofthe contemporary world. Rebellion andconflict are the norm, unavoidable, regardlessof which part of the world weare in. The presence of direct or indirectconflicts and collisions leaves anindelible mark on the consciousnessand actions of people.museum of legaciesLegacies are the things to which storiesbelong, for which people createlegends. Legacies are the things,which help people to orientate themselvesin the world. Wars, fires, changesin values destroy legacies, but it isnot within the power of any invincibleforce to destroy everything. There arelegacies that are more powerful thanany force, which, because of theirstories, help us survive, making thestory about oneself, the city, countryand the world even bigger. Everyoneinherits legacies from generation togeneration, to which he allocates hisFor the 2014 “Poetry Days” the intention isto invite participants from the world’s conflictzones. Conflict zones will mean notjust countries where there are real conflictsor real war activity zones, but also countrieswhere intolerance towards culture, ahigh level of prejudice and cultural conflictcan be observed, for example Turkey andGreece, England and France, the Balkancountries, Spain and Catalonia, Georgia,Russia and the USA. The short-term goalon which the choice of guests will bebased is to prove that culture can overcomevarious conflicts and is above andbeyond the rifts between different nations,even war activity. The long-term goal of theproject is to promote cross-border activities,break stereotypes and initiate a closerlook at the different cultures of the world.The “Noisy Neighbours” programme intendsto include guest poet public readings,as well as a master class combinedwith a seminar, where all interested partieswith or without prior experience in literaryactivities will be able to participate andgain skills, advice and inspiration fromprofessionals from other countries. Openown story and which have influencedthe life of his family, his personal life.Legacies make it possible to restoretime.Several centuries ago every country dwellerwho crossed Riga’s border had to bringwith him two cobblestones, from whichRiga’s streets were made. Everyone arrivingat the European Capital of Culture willbe asked to submit to the exhibition personalitems with a historic legacy. The locationof the exhibition is planned in one ofthe former Freedom Street factories – VEFor in the territory of Riga Wagon Factory.Together with this large-scale project,which will run for the entire ECC year, anexhibition is planned in the Museum of thelectures are also planned at the Universityof Latvia and Latvian Academy of Culture,during which students and other interestedparties will have the opportunity to meetforeign poets, find out about current eventswithin their cultures, develop discussionsand exchange information.What: Poetry readings in an urbanenvironment, masterclass, seminars.Where: Esplanade, Academy of Culture,University of Latvia.When: September.Concept authors: Inga Bodnarjuka, IevaKolmane, Uldis Bērziņš.Organisers: Latvian Writers’ Union.Cooperation partners: Latvian Literature.Centre, Ventspils International Writers’and Translators’ House.History of Riga and Navigation “Stories of100 objects from the museum collectionabout Europe”. The exhibition would display100 legacies from the museum collection,which have an outstanding historicor artistic value, or value linked with theidentity of Riga inhabitants.What: Exhibition.WHERE: VEF or Riga Wagon Factoryterritory.When: January.Concept authors: Inese Zandere, Museumof the History of Riga and Navigation.Organisers: Museum of the History of Rigaand Navigation, Occupation Museum,War Museum, LU Faculty of History andPhilosophy.ruptureWar is the biggest of barbarisms, thesupreme sin, war is a man’s world, waris something which cannot be framed.War is the object of 20th century artisticreflection, which is inextricablylinked with Europe’s historic traumaand collective experience. War is therupture of the evolution of mankind or,maybe evolution is the rupture of theprogress of war?The Latvian National Art Museum ExhibtionHall Arsenāls, which was historically builtand used as a military depository in the19 th /20 th centuries, in 2014 will become thelocation for a large-scale exhibition, whichwill mark out artists’ views and positionstheatrical collisionboulevardFreedom Street is the location of thestage for collisions of war. During the1 st World War monuments and factorieswere evacuated from here, whichnever returned to their places after theend of the war. Culture has always reactedto political and historic events,creating a kind of space for tension inthe forms of drama and theatre.In 2014 the Daile theatre on FreedomStreet and untraditional premises for thetheatre environment – 1 st World War evacuatedfactory territories, will become thelocations for European theatre guest performances.Over the course of the year theguest performance programme will offersix of the world’s most prominent artiststheatre performances, relating to collision,male-female and conflict solutions, and theprewar-postwar theme. The programmeregarding the war theme. The exhibition willprovide an insight of the museum collection– Grosvalds, Kazāks and others,Anselm Keefer, Shirin Neschat, NedkoSalakov –, and will offer contemporaryartist interpretations (Imants Lancmanis,Sandra Krastiņa, Ilmārs Blumbergs, KatrīnaNeiburga, Krišs Salmanis, Miķelis Fišers),as well as present the works of internationallyrecognised foreign artists.The intention is to supplement the exhibitionwith historical materials (photographs,interior elements, weapons, etc) from thecollections of the Latvian History Museum,Latvian War Museum and Museum of theHistory of Riga and Navigation, whichwould allow for a more detailed characterisationof the period and appeal to a broaderrange of society. The planned exhibitionwill be selected by the curators of theLatvian New Theatre Institute, putting theaccent on the contemporary tendenciesand quality of guest performances andtheir place within the context of Europeantheatre art and at the same time encompassingthe needs of various groups of society.In 2014 the intention is to invite artistssuch as Christoph Marthaler (Switzerland),Alain Platel (Belgium) and KrzysztofWarlikowski (Poland) to bring guestperformances to Riga. Parallel to eachguest performance the LNTI will developeducational programmes, film sessionsand lectures, during which talks and discussionswill take place regarding theatreart in a wider discourse. Geographically,the guest performances will encompassthe Freedom Street trajectory of Riga territory.The implementation of this type ofprogramme will confirm that Riga is theplace for regular, high-quality projects inthe field of contemporary theatre.will propose an original view through theprism of the theme of war, which will markout the collision of forces, position theevents of war as the catalyst of an era or,on the contary, as an irreparable rupture ofthe regular course of history, illustrate thedifferences in the interpretations of eventsby men and women, as well as reveal anddemonstrate many other viewpoints, fromwhich it is possible to look at significantevents in our history.What: International exhibition.Where: Exhibition Hall Arsenāls.When: All year.Concept authors and organisers: LatvianNational Art Musuem in cooperation withthe Contemporary Art Centre.What: Theatre guest performanceprogramme.Where: Daile theatre, VEF (StateElectrotechnical Factory), Riga CinemaStudio, Riga Wagon Factory territory.When: Begins in February.Concept authors and organisers: LatvianNew Theatre Institute.Cooperation partner: Daile theatre.54 55

un for freedomRunning as a national sport growsmore popular every year. The annualNordea Riga marathon participantnumbers are increasing and variousother runs and marathons are beingorganised in Riga and beyond. As agift to Latvia for her 90 th birthday a relay“Run! For Latvia!” was organised.Runners can also be seen every daymore and more often in the city’s parksand on its streets, just exercising. Arun is in its way an attempt to conquertime, prove that historical time is acquirablein an illusory manner.propagandaBecause of its geopolitical situationLatvia has always been the stage forvarious European political ideas, uponwhich political campaigns vibrate, influencedby the most diverse currents,ideas, movements, tendencies andhistoric turning points. Power, for workwith the masses, chooses the most diversetools— including art.Since the renewal of Latvia’s independence,5 parliamentary elections have alreadytaken place and in total, an independentLatvian parliament has already beenelected 9 times. Every time elections approacha certain tension can be observedamongst political powers; promises aremade, publicity campaigns created. Theintended project would demonstrate thedevelopment of political ideas and the instrumentsused by them over the centuryup to today. The intention of the exhibition“Political propaganda history in Latvia” isto gather political posters and party politicalposters that have been created beforethe establishment of the Latvian state,during Latvia’s initial independence andafter renewal of Latvia’s statehood. Itis intended to demonstrate all politicalcampaigns and pre-election publicity campaignsin chronological order, confrontingartistic facts with real historic events, whichthe campaigns feature, thus developingboth a collection of serious historicalmaterial and bringing a smile to the facesof exhibition guests regarding the role ofpropaganda tools or campaign posters inthe public’s choice.What: Exhibition.Where: Riga Art Space.When: August - October.Concept authors: Riga’s ECC task group.Cooperation partners: Latvian Art Directors’Club, advertising agencies.The time has come for runners to becomeparticipants of an unprecedented event.Everyone who feels sporty has the opportunityof becoming the co-creator ofan event celebrating the anniversary ofthe declaration of the independence of theRepublic of Latvia. In turn, all Riga inhabitants– of being the spectators of an unprecedentedcity performance. Instead ofthe usual concert for the anniversary of thedeclaration of the independence of Latviaa run will take place – a “Run For Freedom”along the entire length of Freedom Street.In its way this will be a run through FreedomStreet and at the same time the history of aEuropean street, where various periods ofLatvian and European history will be outlinedat various sectios of the run.The start will be at the Ethnographic OpenairMuseum and the route – along FreedomStreet to the Freedom Monument. Totallength of the run — 11 kilometres.What: Marathon.Where: Freedom Street.When: May 4 th .Concept authors: “Untitled” Ltd.voice from the past ineisenstein’s birthplaceProvocative proof that Europe’s andLatvia’s mental space always hasbeen and is united: an opportunityto be convinced that Latvian cinemaclassics have worked and thought ona global level. A review of classic filmsin their black and white tonality like avoice from the past seem to contrastwith the contemporary multi-colouredcity environment, but at the same timesurprise us with the topicality of eternalproblems, which makes us thinkabout intransient values that will stillbe significant in the distant future.One of the world’s most distinguishedcinema directors Sergej Eisentein is fromRiga, and he proved that outstanding cinemalanguage is compatible with undisguisedpropaganda. His film “BattleshipPotemkin” is recognised as one of the alltime20 best films. Cinema, since its beginning,has always served as an instrumentof power, searching for means of artisticexpression between terms dictated bypower and artistic and human protest. Rigainhabitants are characteristic with their particularattitude towards cinema and theircharacteristic cinephilia has arisen froma restricted access to the European cinemaculture heritage during the Cold Warand the search for their identity in nationalcinema.The films will be shown in an urban environment- large-scale open-air sessions onopen-air screens on city squares, in parksand beyond. It will be the border expansion ofcinema’s territorial consciousness and interactionbetween selected works of Europeancinema classics (European Cinema Greats)and the restored Latvian cinema heritage(Latvian Cinema Greats). This project is alsoan opportunity for the expansion of timeborders — unlike usual cultural events, themost favourable time for open-air cinemasessions is in the evening hours of dusk,when cinema projections with their appealand particular magic would attract youngpeople and other groups of society.In 2008, the State Agency National FilmCentre of Latvia began work on the restorationof the Latvian cinema heritage and plansto finish the restoration of about 100 films by2014. Of the renewed films it will be possibleto make the most precise selection, whichwill interplay with European cinema classicsand will provide an insight into the best examplesof our cinema culture heritage.The Riga Cinema Museum and theNational Film Centre of Latvia propose aconceptual selection of European CinemaGreats – demonstrating one film fromevery European country (for example,Michelangelo Antonioni from Italy,Sergei Eisenstein from Russia, Jean-LucGodard from France, Louis Bunuel formSpain, Andrzej Wajda from Poland, AkiKaurismaki from Finland, Ingmar Bergmanfrom Sweden, Vera Chytilova from theCzech Republic, etc.). In 2014, they wouldall meet for the first time in Riga and taketheir places next to the pearls of Latviancinema classics.What: Open-air cinema sessions.Where: City squares, suburbs.When: June-September.Concept authors and organisers: Riga CinemaMuseum, National Film Centre of Latvia.Cooperation partners: Danish CulturalCentre, Nordic Country InformationCentre, French Cultural Centre.56 57

then and nowStop. Look. Become acquainted.A city changes rapidly: already returningafter one month’s absence it seems asthough everything has changed. In turn,if you find yourself on the spot, it seemsthat nothing whatsoever has changed, becausethe changes have been so serenelysmooth, gradual. The aim of the photoexhibition “Then and Now” is to capturethese changes, creating photo installations– stands, where one and the samepart of the city can be observed and thechanges taken place at various times overthe centuries. Placed by the specific object– square, building or street section, theseinstallations will demonstrate how it washere then, allowing for comparison withhow it is now.postwar generationThe postwar generation is free of thetraumas that pursue previous generations.They convert the neuroses andmemories of previous generations in acreative manner, which, at the same time,is a protest for anything that is not free.Within the framework of the EuropeanCapital of Culture it is intended to organiseartistic and cultural space in locationsthat are linked with the relationships ofpower and war themes, organising concerts,exhibitions, performances, etc. Theidea of the use of these locations – culture,which doesn’t sacrifice itself to power, resistsit and doesn’t conform, being itself atwar with everything conventional. LīgatneExamples:Freedom MonumentBefore the 1 st World War the spot where theFreedom Monument, built in 1935, is currentlylocated was occupied by the Peter Ibronze statue. During the times of SovietLatvia trolley buses ran round the monument.Live traffic created serious damageto the monument and therefore, whentraffic on this part of the street was finallyclosed in 1990, with the renewal of independence,the monument was in need ofserious restoration. Restoration work wasterminated in 2001.Freedom and Elizabetes Street crossingDuring the Soviet times Lenin’s statueflaunted itself on this spot. For several yearsnow at Christmas this place is adorned bya Christmas tree but during various Rigafestivals – appropriate design formations.underground training area, Salaspils nuclearreactor site, Daugavgrīva fortress,Irbene radio locator are all planned to becomeEuropean Capital of Culture locationsfor alternative cultural processes, involvingvarious Riga sub-culture groups in theprocess, such as grafitti artists, alternativemusic festival organisers, unpublished philosophersand literati, independent theatregroups, proposing the transformation ofthese locations into multi-cultural spaceswith the name of Postwar generation.What: Art and music events.Where: Līgatne underground training area,Daugavgrīva fortress, Irbene radio locator,Salaspils nuclear reactor.When: All year.Organisers: Skaņu mežs (Sound Forest),Orbīta.Daile theatreThe Daile Theatre acquired its home –architect Marta Staņa’s designed buildingon Freedom Street, only in 1997, but whatwas here before – an old Riga construction,was taken down when building theDaile theatre.Air BridgeThe Air Bridge is the first viaduct in Riga andit was built over the railway tracks in 1906.At the foot of the bridge is the FreedomStreet tram depot, which could tell us howthe appearance of public transport haschanged over the years. Behind the depotthe former premises of the “Red Star” factorycurrently await reconstruction.What: Photo exhibiton in an urbanenvironment.Where: Freedom Street.When: May-September.Concept authors: Untitled Ltd.opera valentīna –the story of the atlantissunk in rigaIn 2014, the staging of a new Latvianoriginal opera, Valentīna, will take placeat the Latvian National Opera. It willbe the story of a legendary characterin Latvian and European cultural life– cinema and theatre expert ValentīnaFreimane, whose personal life storyis closely linked with European andLatvian historical events. She is knownas the Atlantis sunk in Riga, who,as a young girl fleeing from FascistGermany, found herself in Riga, losingall the dreams she had at the beginningof the 1930’s in Berlin. Her family perishedin the Holocaust. Having grownup in the Berlin cinema and theatre environment,in the Soviet times ValentīnaFreimane became a teacher of Westernculture and cinema for several generationsof Latvians.Already in 2007, the Latvian National Opera,in cooperation with joint-stock companyKolonna Board Chairperson Ieva Plaudeand the Cēsis Art Festival, announced aLatvian original opera competition, whoseaim was to promote the development ofthe Latvian opera genre, creating largescalecompositions for production at theLatvian National Opera. The Latvian originalopera idea competition, which waswon by the composer Arturs Maskats withhis opera Valentīna has ended, and theimplementation of the idea is planned in2014. The creative team of the new productionincludes libretto author MartsPujāts, playwright Margarita Zieda anddirector Viesturs Kairišs. Together with thepremiere of Valentīna, the National Operawould also demonstrate the documentaryfilm about Valentīna Freimane by Germancinema director Rosa von Praunheim,which he began work on in 2009.WHAT: Opera premiere.When: 2014 Latvian National Opera season- October.Where: Latvian National Opera.Concept authors: Latvian National Opera.Organiser: Latvian National Opera.58 59

survival kitLuxury replica | Andris Eglītis60

survival kitIn extreme situations a person reveals the seemingly impossibleabout himself. The “Survival Kit” section of Riga’sprogramme invites you to investigate the arsenals of knowledge,skills and values at our disposal that could be usefulin various different situations and circumstances or, onthe other hand, prevent life from passing by – in masteringnew talents, cultivating skills, gaining experiences andemotions.The “Survival Kit” could be seen as a return to basic truths andskills, or as a return to future basic needs in a person’s life, throwingoneself into a journey full of adventures in the IT jungles, cominginto contact with world climate changes and surviving theeconomic crisis in an inventive manner. By fusing tradition with innovation,we acquire a new resource, instrument and experience,which show us the right path and help us to implement the plansconceived. The boundary between the trivial things in everydaylife and global events is lost, because sometimes a trivial gesturecan change the advancement of the world. The meadow flowerspicked before Midsummer Day become a medicinal ointment, theamber thread acquired in a small laboratory provokes a revolutionin medicine, experiments with new technology present solutionsfor obtaining new energy and adressing ecological problems.The contemporary need of city-dwellers within this understandingof force majeure is to know the old story of ‘how to make fire’: howto milk a cow, how to knit a sock, how to effectively collect anduse energy, etc. Thereby, the theme ‘the rural returns to the city’ isnot a contrast, but the ‘survival kit’ of the person of today, whereknowledge, attitude and emotions stand next to the relativelypragmatic skills of everyday life. It is the ‘travel bag’, containinga symbolic loaf of bread, as well as spiritual wisdom that is botheternally young and as old as time. The travel bag will contain thesingle match with which a fire must be lit, just like in scout camp,as well as a couple of books which might have changed your lifeand become trusted travel companions. It may also contain asecret talisman, evidence of a mystical experience that at timeshelps more than rational arguments and sensible advice.The “Survival Kit” is an invitation to unleash the creative spirit thatlies dormant within every individual, at times serving as a test,as a trial of our thinking and behavioural capacity, our ability toquickly analyse situations and take extraordinary decisions, toachieve surprising results with minimum resources, to find wittyand innovative solutions.Joseph Beuys in his time asserted that anyone can be an artist.He also defined the so-called social sculpture, meaning thatsociety as a whole is regarded as a work of art, with every individualcontributing to its construction with his or her creative potential.In his way, Beuys changed the trajectory of artistic development,inviting us to merge life with art, with everyone interactingand becoming creative.What can an artist do in this situation? Develop audacious experimentsand surrender to creative explosion, using the current situationfor his own benefit. If it is not an appropriate time for heroicnarratives and large-scale representative events, one can turn todaily quests for poetry, footnote comments, spontaneous demonstrationsand interventions. With minimum resources one canobtain surprising results, bring to life witty ideas with DIY (do-ityourself),arte povera, ready-made resources, the help of performancesand campaigns, making use of Fluxus strategies.The “Survival Kit” is an invitation to develop life in the way that wewish to see it, just like with minimum resources surprising works ofart can be created. Everything is in our own hands. The universal‘survival kit’ recipe might be as follows: 20% bravery, 20% knowledge,10% endurance, 10% resourcefulness, 40% creativity.63

handbag-balconyThe balcony – a Riga inhabitant’s ‘handbag’or object of investigation that revealsthe lifestyle of a city-dweller, aswell as being a reminder of the flowergrowing& presenting traditions typicalto Latvia and promoting idea of gardensin the very heart of the city, about the cohabitationof nature with urban space.By involving, for example, the residents ofFreedom Street, we will become familiarwith contemporary culture and the lifestyleof today in Riga, simultaneously creating acommon visual image of the street.Within the framework of the event the residentsof Freedom Street and other streets(inhabitants, institution workers) will document(photograph, film) their own and/ortheir neighbour’s balconies, thereby forminga collection of visual evidence that anyinterested party will be able to view, usinginternet resources (eg. www.draugiem.lv,www.serde.lv). Each photograph, evidenceof today’s history, will be exchangedfor flower or herb seeds and the Riga ECCfestival flag. By planting the seeds in a poton a balcony, the balconies on FreedomStreet (and other enthusiasts involved inthe project) will provide a colourful touchto the culmination of the festivities and bedistinguishable by their flowers, and flags.Flowers are not the only thing that can begrown on balconies to add colour, but teasand herbs may also be planted, therebypromoting the balcony as a city-dweller’sgarden, chemist’s, etc., that is permanentlyclose by and an essential component ofdaily life. The event will promote a feelingof community involvement, as well as encouragingus to think about the interactionof nature and urban space, about the antagonismbetween the countryside and thecity and the necessary balance that is anessential element of our ‘survival kit’.Before project implementation an educationaland informative campaign will becarried out in the mass media, reachingout to the target audience and involvinginhabitants in the project.What: Investigative, aesthetically ecologicalproject aimed towards the participationof society.Where: Buildings with balconieson Freedom Street.When: March-September.Concept authors and organisers:Interdisciplinary Art Group Serde,www.serde.lv.weaving marathonWeaving marathon – the popularisationof the traditional skill of weavingand its contemporary interpretation.The old becomes the new, the unusable– useful, the forgotten – practical.Traditional culture – a guarantee of anenvironmentally friendly future.Weaving marathon on the street inside theshopping centre “Galerija Centrs” – withthe aim of getting into the Guinness Bookof Records with the longest rag rug, whichcould then be presented to the EuropeanParliament. Over a month as many weavinglooms as will fit will be set up insidethe shopping centre. Each inhabitant andguest of Riga will be invited to contribute– to bring a piece of old clothing, cutinto strips and with the help of a weaver,weave it into the communal rug himself.children’s festival“come and join in”How can children and young adultsfind their bearings in the wide array ofoptions and find something they likedoing in their free time and, maybe,even their future career?At the end of May, institutions in Riga thatoffer interest-related education will organiseseveral events demonstrating the varietywith which children occupy their freetime through different forms of expression –singing, dancing, relaxing, playing sports,building, assembling, sewing, drawing,modelling, etc. At the end of August, opendoor days will be organised by the institutions,but on the first Saturday in September,at the start of the new school year, they willThe basic principle behind the rag rug is tothink about ecology and the huge supplyof second-hand items, commonly knownin Latvia as humpalas, sent from Europe toLatvia. We propose an original exchange– old clothes for lovingly woven rag rugs.In parallel to the weaving marathon workshopswill be organised – artistic andamateur interpretations connected to theskills of weaving, embroidery and knitting,involving textile and fibre artists (for example,Pēteris Sidaris, Egīls Rozenbergs andothers). As a result, knitted items, textilesand souvenirs from plastic and other modernfibres will be created. By organisingmaster workshops and screening a videodocumentary demonstrating the skills ofcraftsmen met on expeditions organisedby Serde and inviting artists to demonstratea creative approach to the use ofmaterial, we invite city-dwellers and visitorsto think of the best ways of using skills andtake up residence in Vērmanes Garden.During the event, children will be offeredcreative workshops and a concert, as wellas opportunity of taking part in many differentcampaigns and activities.What: Creative workshops, events programme,concert in Vērmanes Garden.Where: Vērmanes Garden, 14 institutionsof interest-related education and primaryschool Rīdze.When: End of May and end of August,early September.Concept author: Māra Vilciņa.Organisers: Riga City Council, Departmentof Education, Youth and Sport, Division ofinterest-related education.Cooperation partners: 14 institutions ofinterest-related education and primaryschool Rīdze, NGO’s that provide interestrelatededucational programmes.contemporary materials more inventivelyand to create their own souvenir.What: Interactive event with an ecologicalapproach.Where: On the ancient Riga street in thetrading centre “Galerija Centrs”.When: May.Concept authors AND organisers: IlgaReizniece, Interdisciplinary Art GroupSerde, www.serde.lv.Cooperation partners: Professionals, artists,craftsmen and amateurs, studios ofweaving and traditional applied art, StateAgency of Intangible Cultural Heritage.64 65

living pictures fromdomestic scenesof centuriesHow have we survived through centuries?Where is our – Riga inhabitants’– strength hidden? The answers maybe sought in the testimonies of history,skills and knowledge, which we haveknown how to use and preserve.The history of Riga will be demonstratedin a theatrical manner at practical workshops,where anyone may step into a specificperiod of time or character, such as abaroness, washerwoman, smithy, cobblerand others.A staged environment conjures up Rigawith scenes from the 17 th century and thentransports us through the ages up to today.The multicultural environment rooted in theevents of Riga’s history is marked with itsdifferent social groups - Latvians, Russiansand Hebrews, rich and poor, ordinary inhabitantsand aristocrats. The ‘survival kit’of each of these ethnic and social groups isquite different. What is important for one isnot always seen as suitable by the others.This is confirmed by different eating traditions,festivals, clothing, customs, songsand jokes. A person cannot live from breadalone. At times long-forgotten wisdom oran old joke helps save us from seeminglyhopeless situations.What: Theatrical performance with practicalactivities.Where: Museum of the History of Riga andNavigation, National Museum of Art, or theMentzendorff’s House, or the House of theBlackheads, Latvian Ethnographic OpenAir Museum, the Centre for Children andYoung Adults Rīgas skolēnu pils.When: May.Concept authors: Dina Liepa, Valdis Egle,Ināra Jankovska – Rīgas skolēnu pilswww.rsp.lv.Organisers: Riga City Council, Departmentof Education, Youth and Sport, Divisionof Interest-related education, Rīgasskolēnu pils.Cooperation partners: Museum of theHistory of Riga and Navigation, theMentzendorff’s House, National Museumof Art, Latvian Ethnographic Open AirMuseum, Association of Latvia’s Castles,Palaces and Manors, the school andmuseum of Vendem (Holland), RostockCentre for Children and young adults(Germany).teaching talentswith no boundariesWithin their lifetime, each person acquiresknowledge, skills and values.Everyone has a talent – a field in whichthey excel. Talent draws out creativeenergy, and can be useful as a “survivalkit” in many different conditionsand situations.The creative festival “Teaching TalentsWith No Boundaries” invites city dwellersfrom different countries to come together,with one thing in common – teaching, butalso something that is different – theirtalent. Talent helps us to creatively resolvedifferent situations in life both on a dailybasis and to resolve future tasks.By watching and taking part in the displaysof different talents, members will be ableto understand their significance today. Itcould be the ‘survival kit’ in each person’s‘travel bag’, to be passed on to futuregenerations.The festival’s aim is to promote the creativeactivities of teachers, as well as their selfinitiativeand self-expression. Teachersdemonstrate their talents. Potential typesof participation: drama, vocal art, musicalperformances, poetry, recitations, dance,folklore, applied art, fine art, photographyetc. During the festival, demonstrations ofcreativity, talent shows and performanceswill take place. In 2013 the festival will takeplace in Riga’s partnership towns, but in2014, the best participants will meet in Rigaat the joint talent festival “Talent Knows NoBoundaries”.What: Displays of creativity, talent shows,performances.Where: Riga’s Centre for Education andInformative Methodology, www.riimc.lvWhen: 2013–2014 in Riga and thepartnership towns, November 2014 -culmination in Riga.Concept authors: Riga’s Centre forEducation and Informative Methodology,www.riimc.lv.Organisers: Riga’s Centre for Educationand Informative Methodologywww.riimc.lv.Cooperation partners: Riga’s partnertowns.68 69

ancient sign –ancient rigaIf we imitate the environment in whichour ancestors once lived, can we imaginetheir understanding of the world,their way of thinking and feeling?Just as in childhood, by putting on aknight’s mask, we can practically feelthe horse’s back. By learning longforgottenskills and roaming along theancient settlement paths with the experienceof today, we tie the past andthe present into a knot.On the site of ancient settlements on theEsplanade or the green territory of Zaķusala(Hare Island), an ancient settlement is beingexplanatory dictionaryof the sciences andesoteric sciencesBoth the material and the esotericworld with their laws are an invincibleforce that man tries to exploreand reveal. Attempts to understandthe world’s conformity to natural lawsis the eternal impulse in a person’slife, which also allows for the perceptionof the preconditions of individualexistence.Within the framework of the project, closecooperation will take place between artistsand scientists to create works of arttogether, based on scientific experiments,attempting to explain the so-called obvious,but unbelievable. The artist’s pointof view and vision would be connectedto experiments of physics and chemistry,established, made up of wooden buildings,the tents of craftsmen and traders, trainingground of ancient combatants, games,competitions, trading, animals, etc. In oneof the fields, international competitions inaxe throwing and archery are taking place,or contests between masters of trickery withfire. Ancient craft workshops allow visitorsto try their hand at pottery, forging, leatherwork,weaving etc. Viking ships are mooredin the River Daugava.In the market place haggling is going on,goods are praised in turn with jesting.Alongside ecological products, traditionalLiv and Latvian items may be bought –blankets, socks, forged items, woodencarvings, etc. Culinary competitions takeplace and food prepared according to ancientrecipes may be sampled.as well as elements of other sciences, intrying to explain the events of the worldaround us.In the public parks of the city of Riga, 10objects – stained glass windows – willbe installed. In each of these a scientificexperiment model will be displayed. Themodels will be created by groups of scientistsand artists. Scientists and artists fromLatvia and abroad will be invited to takepart in the project.What: Exhibition in the public space.Where: Vērmanes Garden, KronvaldaPark, Esplanade.When: May.Concept authors: Inga Bodnarjuka, GintsGabrāns, Aigars Bikše, Kristaps Gulbis.Organisers and cooperation partners:Art Management and Information Centre.In parallel, the game “Unravel the tale ofRiga” is played, with the opportunity ofguessing and uncovering various factsand details from the history of Riga. Thegame is constructed as a series of tasks,also partly as an orienteering game, a testof resourcefulness and knowledge withanagrams and secret texts. The winnersare awarded amusing prizes.What: Ancient skills in the open-air, market,competitions.Where: Esplanāde or Zaķusala.When: Summer.Concept authors and organisers: JulgīStalte, the Riga Group of the Liv Union.literary food rationsThe “Survival Kit” contains the literaryvalues of Latvia, Europe and the worldthat will be ‘read’ throughout the year.Each country will create spiritual foodrations from their country’s literary baggage.From the literary works of theircountry, writers will select and createa unique ‘survival kit’ of literature thatcould help man to overcome existentialconditions, and face everyday problems.Regular literature readings are anticipated,in which prose-writers from Latvia of differentgenerations and nationalities willenvironment unitesThe surrounding environment is oneof the components forming a person’spersonality. This project is a challengeto people to create their own environmentin which they live, making thecommon city-environment their own,investing their own work, ideas and energy.To show how it is done and inviteothers to participate.The “Design For All” movement throughoutEurope promotes the tidying of theenvironment and an understanding aboutthe involvement of different social levelsand social groups in creating a tidy environment,which also facilitates theirinclusion in the social circuit. Within theframework of the “Design For All” programme,creative workshops, seminars,conferences and a competition to improvethe city environment are organized.Designers and architects from abroad,for example, the French Association Bruitdu frigo, are involved in developing individualcreative workshops and the issueof the urban environment.take part, as well as authors from abroad.Writers will read their own works and thoseof their colleagues, including the classics.It is planned to invite not just writers to perform,but also authors involved in poetry,journalism and other sectors of art, who,for example would be involved in events like“Short Breakfast Story” or “Long Stories forEvening Sittings”.The events will reveal the newest works andtrends in literature developing in Latvia andEurope; will promote an interest in Latvianliterature to a wide audience; allow visitorsto compare works of Latvian literature withinteresting examples from abroad; will givethe opportunity for different generations ofInitially, designer and architect groups inRiga’s catchment areas will carry out asurvey to determine the issues that needresolving. Society is involved through varioussurveys, for example, about the necessityfor footpaths, waste bins, informationboards, lighting, public transport stops,children’s playgrounds and other issues.Based on the results collected, an appropriatesolution will be sought.Every month for one weekend, an educationaland practical creative workshop linked withdesign will take place in one of the catchmentareas, led by designers, revealing ways inwhich anyone can change the surroundingenvironment with minimum resources.A street drawing competition will be organisedin which new designers and graffitiartists, as well as local inhabitants will beinvited to participate. Such cooperationpromotes an understanding by the inhabitantsof catchment areas about thebroad range of options for humanizing theenvironment.A travelling Latvian design store“DesignDrive” will be unveiled, displayingwriters to perform with readings of new and,mostly, unpublished works or their fragments.Writers’ debates about the role andposition of literature in Europe are planned.What: Literary readings.Where: Riga’s cafés, small theatre stages,artist premises, museums, etc.When: January – November 2014 (twice amonth), culmination in December 2014.Concept authors: Jānis Oga, MarikaPapēde, Arita Gutāne, www.literature.lv.Organisers: “Latvian Literature Centre “.Cooperation partners: European literaturecentre network Literature Across Frontiersand European Writers Unions and others,www.lit-across-frontiers.org.and selling items by new designers. Thecampaign will take place in parallel to variouscultural events or in catchment areasnear department stores and at annual markets,assembling a new target audienceand acquainting the greater part of societywith design.What: Creative workshops, campaigns,seminars, art in the public space.Where: Riga city environment, catchmentareas, cafés and clubs, recreational andshopping centres, young adult informalmeeting places.When: April-October.Activities already begin in 2010.Concept authors: Design Innovation Centrein cooperation with Design InformationCentre, www.dic.lv.Organisers and cooperation partners:Design Innovation Centre in cooperationwith Design Information Centre, unionsof new designers, “Tasty”, “Rijada”and “Directdesign” and others., nongovernmentalyouth organisation Sinergyfonds, Latvian and Russian schools fromPļavnieki, trading centres “Rimi”, “Jysk”,Health centre Pļavnieki, Children’s socialcare centre Pļavnieki and others.70 71

72road map

oad mapThe greater part of mankind lives in cities. The conditions createdby the urban environment form the dense weave of everydayrituals and participate in forming the signification of privateand public space. A city is not only made up of buildings andcarriageways, but rather by containers of meaning, flows ofinformation, language grids and vectors of varied pressure.Cities are like living organisms that can grow dynamicallyand aggressively, as well as being helpless, confused anddiminishing. They can be led by the dynamics of the explosivedevelopment of ‘generic cities’ (Rem Koolhaas) groundedin the pragmatism of capitalism. Or, it might be the globalcity defined by Saskia Sassen, in which the local is found inconstant interaction with the global. It may be assumed thata city grows by itself.The language of a city is determined by the urban rituals, navigationalsigns and gestures that are integrated and brought to lifein the complex social network. Cities create a multitude of platforms,offering a common living space for individuals of differentcultures and identities, activating the transformation of the privateand public space, catalysing the collision of differing positionsand nursing the spirit of resistance.Just as in the recipe of a refined dish meal, a multitude of ingredientsblend together in the language of the city, the proportiondetermining each city’s unique flavour. The “mental” cartographyof Riga is formed by the historical architecture of the Old Town,the Jugendstil of Albert Street and the pavilions of the CentralMarket - the former zeppelin hangars. It is also formed by the urbanarchaeology of Soviet times, the so-called “high-rise areas” ofthe city, allotments in the city centre, the annual trek to Bolderājaby the members of the Unprecedented Sensations RestorationWorkshop, the Art Day demonstrations in the station tunnels, thecreative dynamics of Andrejsala and Spīķeri, the silhouettes ofthe Sun Stone building and the Ministry of Agriculture, the 9 th Maygatherings by the Victory Monument and singing people returningfrom the Song Celebration on the night-time trams.“Road Map” is an alternative plan, which allows everyone to findhis or her own Riga, hidden under the city facades and found inthe minds of people – a Riga that has passed, forgotten due tonew historical, social and political grounds. “Road map” is a planand at the same time a detour from the usual sights observed bytourists. The road map idea is the integration of inhabitants in thecreation of new routes that would not just be roads in the physicaland direct sense. They would reveal and create a new circulationsystem for the city. “Road Map” incorporates short-termand long-term objectives. The short-term objective is to open uporiginal city locations for cooperation and accessibility, neighbourhoodstories, memories and events. The long-term objectiveis to develop Riga as a city with many active centres, each onestanding out with its unique character and originality.“Road Map” invites local inhabitants, city researchers and gueststo seek their own Riga, not by confronting the city centre with itssuburbs, but trying to find and highlight the specific local featuresand unique atmosphere of each place.At times the inhabitants of the suburbs live a completely parallellife to the city centre. These are people for whom going to the citycentre once a week is to “go into town”, whose daily lives are spentmoving around within the borders of catchment areas, from workto the shop and from the shop back home, and whose eveningsare spent working on the allotment or chatting to the neighboursin the yard. The suburbs are also occupied by the inhabitants ofthe so-called high-rise areas, who crowd into the public transportshelters to travel to the city centre and return to their homes late inthe evening, and therefore never finding out who lives in the nextdoor apartment.“Road Map” tries to address the inhabitants of the suburbs andoutskirts of Riga, surprising them like a force majeure in their familiarpaths from the shop to their home, and by integrating intothe various forms of the area’s infrastructure, trying to address thesection of society that might never wander into an art gallery ormuseum or attend any other alternative cultural event, and involvethem in the processes of culture.Marginal territories are drawn into the centre of attention andthe anthropological texture of the local environment becomes asource of inspiration for well-known directors. Instead of “Hamlet”,the “Tales of Bolderāja” are produced, the inhabitants of high-riseblocks unnoticed until now, become the heroes of books and theinhabitants of buildings are invited to find out more about the differentcultural traditions of their neighbours and discover a newdimension of experiences. Road map invites you to find out moreabout each other and get to know each other better. Torņakalnsgoes visiting Ķengarags and the Centre visits Purvciems.Guests to the city who wish to look at Riga from another angle arealso invited to head for the suburbs, to see what happens outsidethe representative part of the city centre and to get to know its‘secret places’. It is an invitation to go on a psycho-geographicaljourney, similar to the flâneur formulated by Walter Benjamin, succumbingto seemingly aimless wandering around the city or usingthe dérive method favoured by situationists, which describes thespontaneous propulsion through various zones of the city.“Road Map” in these journeys serves as a guide, as a type ofcompass that is pointed towards a different Riga each time.These might be excursions that illuminate the different segmentsof Riga’s history – the Soviet period in Riga, communal apartments,interiors, air raid shelters, the industrial heritage of Riga,old factories, specific architecture and manufacturing facilities,Hebrew Riga, a city that has arranged itself around more than 40islands, Bohemian Riga, design city, a cyclist’s Riga, etc. “RoadMap” not only invites you to get to know previously little knownparts of the town, but also to briefly open the door to rooms wherepeople are not usually allowed, such as water towers, weatherstations, the backstage of theatres, etc.Poetry, music and city noises that transform into the art of sounds,literature that allows you to take on the role of a book characterand see the city with different eyes, are all instruments used forthe exploration of the city and the search for unusual viewpoints.Local libraries, interest-related educational institutions, local culturalcentres and schools wake up as vital epicentres for culture.New creative platforms are also created, which for a time come tolife as testing laboratories in various city quarters and, with the cooperationof artists, actors and musicians, together with the localinhabitants, create a new Riga – a city whose main and invincibleforce will be culture.74 75

filmforce majeure. rigaThe documentary made by a team of9 European documentary film producers,will be a tale about Riga as Rigaitself would never see it, and a taleabout Riga as the world has neverseen or heard it. It would be the first21 st century anthropological film collectionabout Riga that has the potentialto be shown at documentary filmfestivals and in cinemas, as well as ontelevision throughout the world.By nature, the Riga inhabitant is active,educated and loves the cinema, but moreas an observer. He becomes curious whena film is shot at the start of the 21st centurywhen the film camera is no longersomething exclusive, because anyone canfilm themselves and their surroundingsusing their mobile phones and show it tothe world straightaway; we have arrivedat the inflation of documentary pictures.Slow and rooted in reflection, documentarycinema is a contemporary alternativethat Latvian inhabitants in their time havelearned about through their school of documentarycinema: Ivars Seleckis “Sidestreet”(Šķērsiela), Herc Frank’s “Older byten minutes” (Par desmit minūtēm vecāks).The poetic documentary cinema style ofRiga has entered European history as evidenceof fearless cinematography.“Force Majeure. Riga” is a project thatwill be developed by 9 documentary filmmakers recognised in Europe, including 7European documentary film directors togetherwith Latvian documentary cinemaclassics, Ivars Seleckis and Herc Frank, witheach one creating a story about a specificpart of Riga, group of inhabitants, socialor cultural phenomenon, encompassingas wide and diverse geographical, socialand cultural territory as possible. The filmproject would take shape over three yearsand see Latvian socio-anthropologists cooperatingwith the most striking Europeandocumentary film producers¸ cameramenand Latvian producers. The aim of theproject is to make use of cinema not justas an art form, but as a partnership form,with the Latvian socio-anthropologists involvedcarrying out field studies as part ofthe project in various parts of Riga, offeringthe European producers material fora documentary anthropology of man andlocation, on condition that the producersand socio-anthropologists involve a widerange of Riga inhabitants in creating thefilm, revealing their life stories, lifestylesand historical and contemporary nuances.It is planned to involve well-known Europeanfilm directors such as Andreas Veiel fromGermany, Arunas Matelis from Lithuania,Heddy Honigman from Holland, ViktorKosakovsky from Russia, Nicholas Philibertfrom France, Jorgen Leth from Denmark,Molly Dineen from Great Britain, Herc Frankand Ivars Seleckis (Latvia). Each directorwould create a 15 minute long documentaryfilm as part of the documentary film projectForce Majeure. Riga.The film’s premiere would take placein September 2014 during the “BalticDocumentary See” forum, showing the filmin special screenings in those parts of Rigawhere the film project was filmed. The resultof the film, Force Majeure. Riga will bean international art and science project –several new documentary films created byprofessional anthropologists together withthe best directors and cameramen in thisgenre. The films are meant for Latvian andinternational audiences, which in autumn2014, in addition to screenings in Riga, willbe shown at film festivals worldwide, distributingit to foreign television. The projectwould in its way be a type of testimony ofan era, creating a new type of cinema ata time when there is talk of the simplificationof cinema language - with involvementand a love of cinema typical of the Rigaidentity.What: Anthropological documentarycinema.When: 2011-2013 film creation, 2014 – filmpremiere.Concept author: Student of anthropologyGundega Laiviņa.Organisers: Latvian National Film Centre,“Mistrus Media”, Environmental FilmStudio, Juris Podnieks Studio.76 77

alternative city guideTo find the city within the city. To goon psycho-geographical wanderingsand get lost in one’s city, discoveringa completely different, as yet unknownplace. Accompanied by an experiencedguide, an urban guru, discover the city’shidden zones, sneak behind the liningof the city and get to know the localfolklore.Cities as labyrinths of meaning and polygonsof adventure have always temptednot just curious inhabitants but also cityguests. Not in vain has the movement ofcity diggers and waders recently developed;the wish to discover the city from adifferent angle has been activated.One of the thematic lines of the activitiesby the Latvian Centre for Contemporary Art(LCCA) which over time has been developedin several projects, is the city, urban space,its mapping and study (“City. Tales aboutRiga”, 2002, re:publika 2004, “Urbanologic”,2007 etc). Several thematic tours have beenorganised and a guidebook has been published.Therefore, LCCA in cooperation withcity researchers, experts, artists and othercreative people will expand the initiated progressionand organise a cycle of excursionsto unknown places in Riga, as well as issuingan alternative Riga guide.These unique excursions will introducethe different faces of Riga, reveal the citywithin the city, going on tours along pathsthat have never been included in the usualtourist routes. There will be an opportunityto discover Soviet Riga, whose imprint canstill be found on the interiors of several cafes,Spilve Airport and others; participantswill experience the charm of communalapartments and drink a glass of tea in thekitchen, while listening to the host’s talesof former times. Small groups of interestedparties will be offered exclusive visits to thehouses of interesting characters.Another Riga will be sought, both getting toknow the multicultural history of the city andhighlighting its social texture. Guests couldget to know Hebrew Riga, take a walk throughthe Russian Riga in the Moscow district, visitthe Grīziņkalns workers’ area and track the territoryof the Vārnu Street republic. During captivatingtrips, excursions round the industrialheritage zones would be offered, which, justlike a history book, recount the city’s life story,confirming that the Ērenpreiss Company,design map“Design Map” is an alternative plan forre-discovering the unknown Riga, industrialRiga, the third largest industrial centreof Russia in the early 20 th century, themanufacturing and design pride of theLatvian state and the USSR, the achievementsof the renewed Latvia. The designmap will introduce Latvian achievementsin design in the past and today.The design map will show the Riga thatthinks of its citizens, their comfort, so thatthey all might feel good in their city. Barsand cafes with contemporary interiors, historicallypreserved design statements, smallarchitectural forms and city environment,designer hotels and shops, innovative gastronomyand high class service design, anew library with its proposed opportunities.Places and people that are associated withdesign. The city creates its maps. We offera design map of Riga that includes designobjects and places, the city’s creative areas– Kalnciems Street area, Berga Bazārs,Spīķeri, innovative gastronomy options, etc.It is a map that serves both as printed materialand as an interactive option. Objects andplaces are marked with special symbols.Throughout the year, with its culminationĶuze sweet factory or VEF and others are notjust forgotten trademarks. Many of the excursionswould be summarised in small guidebooksthat would be regularly updated andform the ‘collected works’ of Riga.It is also planned to publish a large alternativeguidebook of Riga with the participationof artists (Ieva Epnere, Līga Laurenoviča,Ēriks Božis and others), writers (AgneseKrivade, Margita Zālīte, group Orbīta), sociologistsand others, in its creation. Theguidebook would be created as a valuableinterdisciplinary project and would includeduring the “Design Days” in October 2014,a string of exhibitions will take place in themuseums of Riga:• Each museum will create an exhibition inthe museum or exhibition hall about achievementsin the sector of manufacture and design,starting from the Latvian car manufacturingindustry and VEF (State Electro-technicalFactory), to porcelain, designer workshops(e.g. “Baltara” porcelain in the memorialapartment of Romans Suta and AleksandraBelcova, or the activities of today’s mostwell-known designers in Latvia). For the DollMuseum this might be creative doll workshopsfor children and professional designersin cooperation with the Latvian PuppetTheatre and children’s theatre studios.• In the largest exhibition halls – thematicdesign exhibitions.• In the new Castle of Light an impressivedisplay of graphic design that includes bookgraphics, applied graphics – posters, cataloguesand informative publication graphicsand other visual forms of communication. Thehistory of Latvian graphic design up to today.• An exhibition about the creation ofLatvian manufacturing or industrial design,as a base area choosing one of the mostdeveloped sectors of Latvian manufacturing– the furniture or textile industry. The exhibitionwill reflect the development of furnitureoriginal excursion routes, interviews withinhabitants, local folklore, writers’ essays,urban poetry, photographs etc.What: Guidebook of excursions.Where: Starts in March, guidebookpresented in November.When: All year.Concept authors: Latvian Centre forContemporary Art (LCCA).Organisers: Latvian Centre for ContemporaryArt (www.lcca.lv), Jānis Borgs, IndustrialHeritage Fund (www.i-mantojums.lv),www.urbantrip.lv, www.bradajumi.lv.through different periods of time – the workof craftsmen, manufacturing opportunities,contemporary manufacturing, the trainingprocesses for specialists in design, technology,economics and business management,the work of experimental design laboratories,new product testing, the path of aproduct from the idea to the finished product,showing that good design is one of theinstruments used for raising the quality of lifeand an added value indicator for goods.• Exhibition location – unused premises inthe city centre or any of the former productionunits.What: Displays, exhibitions, seminars,conferences. Creative fields in the urbanenvironment of Riga. City mapping.Where: Riga museums, galleries, exhibitioncentres, educational establishments, designbureaus and salons, manufacturers, designinstitutions and internet portals.When: All year.Concept authors and organisers: DesignInnovation Centre, Design InformationCentre, www.dic.lv.Cooperation partners: Riga CityCouncil, Latvian Ministry of Culture,Latvian Ministry of Economics, LatvianInvestment and Development Agency,Riga’s museums and exhibition halls,businesses, design salons and bureaus.78 79

poetry mappingUntraditional city mapping, capturingstreets, courtyards, places with poetryand visual image traps.Local poets, musicians, video artists andcomputer programmers will participate inthe project and with the aid of technologyand visualisation they will create a map ofRiga expressed in poetry. It is virtual migrationalong the map of Riga in which thestreets and catchment areas of Riga aremarked out with control points and poetrypath itineraries. All the information on themap is described in poetry, music and videoprojections. The map will be not only inLatvian, but also in Russian and English,thereby making it interesting material thatcould present Riga to guests from abroad.The “Poetry Mapping” aspires to portrayRiga from a different viewpoint, namely,describing in poetical form what is typicalof each street, area and location and alsohighlighting the significance of the placein the context of Riga’s history and culture.“Poetry Mapping” experiments with poetryreading and its perception. If poetry isusually perceived as vertically readabletext, then under this project, the traditionalpoetry form is unravelled and exploredhorizontally.The ‘poetry map’ of Riga will be createdboth in printed and virtual form. Its presentationwill take place as a performance– a virtual map will be projected on a videoscreen with parallel poetry readings (by theauthors of the map’s poetry) taking place.What: Performance.Where: Riga.When: September1 st -14 th , 2014.Concept authors and organisers: IngaBodnarjuka, Artūrs Punte, LatvianAssociation of Writers, text group Orbīta.my catchment area’sgrand concertIf a spectator won’t go to the music, thenthe music will go to the spectator.It is usual that popular open-air musicevents for young adults take place mostlyin the centre and that young adults fromthe catchment areas head for the centre.With the help of the project “My CatchmentArea’s Grand Concert”, it is hoped to ‘shiftthe centre’ by changing the habits of localinhabitants – taking young adults fromZolitūde to Purvciems or to show inhabitantsin the centre that Riga does not stopoutside the centre, to bring the cachmentarea’s to life, which will also be interestingto visitors to the city.“My Catchment Area’s Grand Concert” isplanned as a body of several events – theperformances of popular musicians in thecourtyards of Pļavnieki high-rise blocks,dance music night in Zolitūde, Ķengaragsreggae – anything that might be popularand appealing to young adults in 2014.12 concerts are planned in 12 cachmentarea’s:1. Zolitūde2. Ziepniekkalns3. Imanta4. Purvciems5. Pļavnieki6. Čiekurkalns7. Ilģuciems8. Ķengarags9. Bolderāja10. Mežciems11. Vecmīlgrāvis12. Sarkandaugava.What: Concerts.Where: Catchment areas of Riga.When: May-August.Concept author: “Untitled” Ltd.riga’s islandsand watersThe project presents the opportunityof learning about the more than 40 islandsof Riga that until now have beenlittle known territories, to meet with localinhabitants and hear many storiesfrom the primary source.The project offers an excursion itineraryover several days along the islands of thelower reaches of the Daugava, gettingaround on foot, by bicycle, yacht and otherfloating vessels. At the stopping pointsalong the route participants get to knowthe life of the Daugava islands:• Mangaļsala – fishermen and other watergoers, mode of life, history.• Kundziņa island – community, interpretationof creative history.• Daugavgrīva – sculptors Pauls Jaunzemsand Imants Polis in Vakarbuļļi, a picnicby the Lielupe, swimming in the seaand a look into the wealth of Daugavgrīva’snature reserve, lighthouse, Cometfort;• Daugavgrīva fortress – a look at militaryhistory and its creative interpretation;• Bolderāja – the historical woodenbuildings of Bolderāja, unknown parks,Textile Park, the former Hertvigs – Peitānsworsted production unit; Barracks – riflemen– artists – concerts and an exhibitionin the Bolderāja School of Music and Arts.Parallel to this an information centre is beingopened in the restored netting shed inBolderāja opposite Mīlestības island (Loveisland), which operates as an exhibition halland information centre, organising regulartrips to the island, creative workshops, filmscreenings and exhibitions.Regular excursion routes reveal the industrialheritage of the lower reaches of theDaugava; known and unknown fortificationsalong the Daugava - Mangaļsala,Daugavgrīva, Daugavgrīva fortress, otherfortifications and fortification remains.Military games, exhibitions and concertsare organised.What: Excursions, exhibitions,interdisciplinary events.Where: Islands of Riga.When: July–September.Concept authors and organisers: Bolderājagroup.riga’s hamletThe leading European and Latviandirectors are invited to produce performancesin untraditional playingareas, encompassing the peripheryand linking performances to specificgeographical sites of Riga and thehistorical or social aspect. All invitedartists in cooperation with local artistscarry out a timely study of the city, itsgeography, history, inhabitants andsocial environment, in order to selecta theme and focus for their performance.As a result, instead of “Hamlet”or “The Cherry Orchard”, “Small tragediesof Riga” or “Tales of Bolderāja”will be produced.For spectators, each performance will becomenot just a top-class feast of art butalso a trip around the city, offering newexperiences at different levels both for theexisting theatre audiences and for the widestcircle of inhabitants. This level of newproduction by artists will also attract theinterest of international communities.Example: Romeo Castellucci and SocietasRaffaello Sanzio (Italy) create a show – aninstallation in the water tower of Āgenskalnsor in an abandoned place of worship,Rimini Protokoll (Germany) offer their taleabout Riga’s inhabitants in the Spilve airportbuilding, French acrobats and light artistsfrom the company Trans Express takeup residence at the Daugavgrīva fortressor the forts of Mangaļsala, environmentalartist Kristo is invited to create an environmentallyfriendly installation on Mīlestībasisland (Love Island), but Alvis Hermanis andhis actors inhabit a multi-apartment block inĶengarags with their stories. Parallel to this,several smaller forms of theatre, dance andcircus projects are created.The aim of this project is to achieve maximumcooperation of artists and inhabitants,both in creating performances andproposing them to various parts of the city,cultural centres and parks, attempting toconsolidate the most varied communities,starting with the family, classroom, artistcommunities, the inhabitants of one streetand finishing with society as a whole. Inthis programme, special emphasis wouldbe placed on performing arts such as thetravelling circus, muppet and object theatre,street theatre and dance, as well asinterdisciplinary projects.What: Theatre, circus shows,performances.When: Starting in April.Where: Untraditional performancelocations.Concept authors and organisers: NewTheatre Institute of Latvia.80 81

iga for all,riga for everyoneSince its foundation Riga has beenopen to representatives of various nations.The Road Map invites everyoneto head on a journey to a personallyundiscovered Riga – the Riga of otherRiga inhabitants, increasing his or herknowledge with the skills rooted in thetraditions of other people.The scenes of the lives of Riga’s nationalgroup inhabitants flow together ina unified whole and form a joint portraitcharacterised by its fascinating diversity.Performances by ethnic minority traditionalculture groups will take place in theriga – at the crossroadsof europeIs it possible to travel around Europein a couple of days? Of course it is!This time this time it will be the youngadults from Riga’s centres of interestrelatededucation who will take careof it, having carefully studied culturaltraditions, history and contemporarycurrent events of different Europeancountries, they will develop a uniqueinquiry-based creative programme.Each interest-related educational institutionselects its country or region, studies itscultural heritage, prepares performances,drawings or a photo exhibition etc. On thechosen day, Riga inhabitants and guestsare invited to visit the interest-related educationalinstitutions that are open throughoutthe day to offer a creative approachto the interpretation of Europe’s culture, ahistorical parts of Riga that are linked withthe histories of the largest ethnic communitiesand investment in the joint portrait ofRiga: in the Moscow quarter, Russian folkloregroups will demonstrate Whitsuntidetraditions, Polish groups will perform Polishsongs at the Polish Gate, but on the openair stage in Vērmanes Garden, a dancemarathon of ethnic minorities could takeplace, one after the other demonstratingthe variety of cultures.The ‘survival kit’ of today’s Riga inhabitant,alongside the purely pragmatic everydayskills, also includes emotions, attitude andknowledge about our ancestors who developedRiga as we see it today – varied,multicultural and unique. Every person’s‘travel bag’ contains more or less carefullypreserved traditions and a lifestyle takenjourney full of imagination and adventures.Any individual visiting a centre of interestrelatededucation, will for a couple of daysbe able to get to know or travel around‘Europe’.The aim of the project would be not justto promote the diversity of European cultureand motivate the young generation toinvestigate the cultural heritage of Europe,but also to promote interest-related educationalinstitutions in Riga.What: Open door day.Where: In 14 interest-related educationalinstitutions in Riga and the primary schoolRīdze.When: End of May–early JuneConcept authors and organisers: GuntaAndersone, Riga city in cooperation withinterest-related educational institutions.Cooperation partners: 14 interest-relatededucational institutions in Riga and theprimary school Rīdze, together with theircooperation partners from abroad.over from our ancestors, native language,lullabies, festivals and favourite places inthe city. This is the supplementation of theindividual ‘survival kit’ with the skills of othernations rooted in tradition.What: Ethnic minority festival Latvijasvainags in the open air.Where: Vērmanes Garden open-air stage,Polish Gate (Old Town), the Moscowquarter – Maskavas Street, the cornerof Mazā Kalna Street. This place ishistorically known as Krasnaja gorka.When: June 2014.Concept authors/organisers: Irina Viņņika,Aleksandrs Brandavs, Irina Žuravlova,Renāte Miseviča, Irina Vasiļjeva, Ethnicminority programme Zelta kamoliņš.literary walk“get to know your city”Literary excursion routes through severalparts of Riga allow the city to beseen through the eyes of book characters,to get a sense of different erasand situations.The excursion routes are based on quotesfrom works of fiction and literary descriptionsabout specific objects on the chosenroute or about historical events in Riga thatare linked to a specific excursion route.Literary excursions, seeking out the relevantworks, are led by a library employeefrom Riga Central Library or a professionaltour guide and during these, professionalactors are invited to quote the works andtheir fragments. The literary walks not onlyspot the monumentThe bicycle as a method of transportationand a sign of an alternative lifestyle,also becomes a kind of instrumentfor discovering the city’s history,this time looking for one of the mostvoluminous signs of collective memory– monuments.Monuments are significant witnesses tothe history of a city and its developmentand with changing times and priorities,the attitude towards them also changes.Often they are forgotten, but at the momentof their erection they were all verymeaningful.The aim of the “Spot the Monument”bicycle orienteering game is to draw attentionto long-forgotten monuments inthe city, created by different powers andintroduce Riga, but also provide a glimpseinto the literary heritage of Latvia and aninsight into Latvian fiction.Potential routes for these walks could bethrough the Old Town, Pārdaugava andGrīziņkalns. Connoisseurs of Latvian literaturemight find literary walks interestingthat are based on specific works, for example,“A Visit To The Vārna Street Republic”,“Along The Paths Of The “Green land”” (inPārdaugava) and others.Literary walks lasting 1–1 ½ hrs wouldbe planned for pedestrians (Old Town,Grīziņkalns), or as a tour by bus (Pārdaugava).By offering literary walks toforeign guests, the translation of literarywork fragments into English and Russianshould be anticipated, since relatively littleLatvian fiction has been translated into otherlanguages.times. The game will invite its participantsto find 11 Communards, Vilis Lācis, theSong Celebration colossus, 1905 monumentand others.The aim of the “Spot the Monument” bicycleorienteering game is also to promotethe bicycle as a method of transportationin the city. Compared with other Europeancities, transportation by bicycle in Riga isgaining popularity slowly. The infrastructure– bicycle paths, bicycle racks – hasonly recently begun to develop. However,an increasing interest about this mode oftransportation is observed.What: Bicycle routes.Where: Entire city territory.When: August.Concept authors: x-aģentūra.Cooperation partners: Riga’s Agency forthe Protection of Monuments, MonumentAgency.A small guidebook would be prepared forthe literary walk routes showing the routemap, indicating the included objects ofRiga, as well as a list of the literary worksand their fragments used during the literarywalks, and individual significant quotesabout Riga.Quotes from the literary works would beplaced around the city several city objects,announcing some intriguing informationabout the selected locations, aswell as quotations about historical eventsin Riga, associated with the specific partof the city.What: Literary excursions.Where: Riga urban environment.When: All year.Concept authors and organisers: RigaCentral Library (RCL).82 83

open door dayOne-day transformations offering everyoneaccess to places that are usuallylocked. Open, Sesame!The idea of “Open Door Day” is a simpleone. However, this time we want to opendoors that are usually locked to visitors.Who has never thought – I wonder what thewater tower looks like inside, the weatherstation, backstage at the theatre or the telecommunicationexchange. To implementthe campaign “Open Door Day” 30 suchplaces, that are usually locked to inhabitantsand therefore so enticing, will be selectedand their doors opened to visitors.In its way the campaign “Open door day” issimilar to the already well-known “MuseumNights”. Routes will be developed and foreach place an artistic formation will besought – orchestra concerts, performances.However, the objects themselves will bethe force majeure of the campaign – noneof these have been developed as publiclyaccessible tourist site and none will everbecome that in the long-term. These willbe one day transformations that will reveala world unknown until now to visitors.What: Campaign.Where: 30 different event locations.When: September.Concept author: Riga’s ECC task group.Cooperation partners: x-aģentūra,managers of selected objects, Riga cityamateur art groups.map of creative rigaRiga is full of various points of creativeenergy, idea geysers, that can convertdaily events into festivals. Maybe youhave already noticed a hairdressingsalon, library or fashion boutique inwhich good films are shown, a caféin which artists are invited to preparefood? If not, we will show you.The world is flooded by poor quality, impersonal,aesthetically and materially worthlessproducts and unified services andpeople live according to the rules of a‘throwaway’ society, resulting in a degradationof values. In times of personal, economicand social trauma the realisationoften dawns on people and they look forthe way back to what is real, personal andcreative. The Society of Design Workersbelieves that Riga accumulates a hugecreative potential, and therefore proposesan alternative road map, which, if followed,will take the traveller to the city’s creativedimension. The historically powerfulbolderājaThe map of creative education institutionsin Bolderāja outlines the specificcharacter of the area and the uniqueatmosphere that is expressed not onlythrough the testimonies of history, butalso through the process of the creationof new work and cognition.The educational and cultural road map ofBolderāja will reveal the opportunities forinterest-related education for children andyoung adults in Bolderāja. Every day anevent is planned in one of Bolderāja’s educationalestablishments with a culturallyeducational programme. It will end with ajoint celebration in Daugavgrīva’s fortress.traditions of craftsmanship and appliedarts are an excellent basis for the developmentof Latvian contemporary design andfashion.In 2009 project organisers are collectinginformation about extraordinary places inRiga – local designer shops, craft workshops,cafės, clubs and other creativeprojects – to which friends and acquaintanceswould be taken and that are notincluded in traditional tourist guides, andare not widely known to the local audienceeither. Within the project, a graphic map ofRiga will be published with “Creative Riga”objects. The aim of the project is to promotethe interest of local and foreign audiences(read: consumers) in unique, originaland creative high quality local productsand services, helping creative industries todevelop (textile industry and others).Before and during 2014, it is intended toregularly organise ‘open’ performancesin Creative Riga objects. For example,street fashion shows open to everyonenear designer shops, inviting musiciansWhat: Cycle of events throughout the week.Where: ‘Bolderāja’ Children’s and youngadults’ centre, Bolderāja School of Artand Music, Riga’s 33rd secondary school,Riga’s 19 th secondary school, Daugavgrīva’ssecondary school, the seaside nature parkand Daugavgrīva’s fortress.When: May.Concept authors and organisers: ‘Bolderāja’Children’s and young adults’ centre.Cooperation partners: Bolderāja Schoolof Art and Music, Bolderāja Library,Daugavgrīva’s secondary school, Riga’s19 th secondary school, Riga’s 33 rdsecondary school, the Young Guards’group Junga.to participate, organising food-tastingsand involving members of the Associationof Design Workers and other creativepeople.What: Performances, informative material.Where: Riga, virtual space.When: 2009–2014.Concept authors and organisers: Society ofDesign Workers84 85

winter carnivalIn addition to a merry hustle and bustle,along with the scent of white snow,forests and fields, the approach of acolourful and loud group of maskedrevellers also brings blessings to eachhome and family. The “Winter Carnival”will be a fun series of events takingplace throughout the city territory. Theywill unite the carnivalesque traditionsof various nations with the characteristicsof a contemporary carnival.riga – force majeureNew Year’s festivities in Riga will ringin the year of the European Capital ofCulture.New Year’s Eve – it can safely be said thatthis holiday is celebrated by everyone. Thecollective ringing in of the New Year in theRiga city centre has become a stable tradition.A countdown of the last seconds ofthe passing year takes place and the NewYear is seen in with festive fireworks. Joyand merriment prevail; everyone joins inThe idea of a masquerade, based on ancientfertility rites, has historically been familiarto many nations. For the ancient Indo-European peoples, the New Year’s Eve wasat the beginning of what is now February,and within the Meteņi (Shrovetide) festivities,the ancient traditions of seeing off theold year have been retained. Like all thewinter holidays, it included going on mummery(ķekatas) and visits to neighbours. Afeast, gifts and giving presents to the mummersare also the ingredients of an ancientritual through which it was hoped to gainprosperity for the home, health for the people,and fertility for cattle and fields.Meteņi is the period in February before fasting,when meat is not eaten and food is muchplainer, therefore the table to mark this prefastingfestival is laid plentifully. The maskedprocessions begun on either Miķelis’ Dayin September or Mārtiņš Day in November,wind up on Meteņi, which for Latvians, alsomarks the mid-way point between the wintersolstice and the spring equinox. Usually,masks portray the spirits that their wearerswant to butter up or affect in some way.Mummers, the jolly assurers of fertility andblessings, make their last rounds from houseto house, spreading fertility in every farmsteadthey visit. The masks are the sameshared songs and dances. The culturalinstitutions of Riga will be open to its townspeopleand visitors, while events at differenttastes will offer a diversity of choices forgroups of friends or families over severaldays, on the basis of the themes outlinedin the European Year of Culture event programme.A videoconference with Riga’scooperation partners in various Europeancities will take place.If Riga is chosen to be the European Capitalof Culture 2014 promises to be a year filledwith surprising events, unexpected discoveriesand new experiences for everyone.traditional ones – the gypsy, the crane, thebear, the billy-goat, the poor man, the Jew,women dressed as men and men as women.The masks have one purpose – to ensurefertility with singing and dancing, and banishevil through magical goings-on.Maslenitsa is an ancient Orthodox holiday,celebrated seven days before the great fast,or Lent. For seven days, tambourines jangle,the sound of accordions can be heard andeveryone is dressed in colourful clothing.Market stalls sag under the weight of assorteddelicacies, while pancakes – the symbolof the sun – are especially honoured. Duringthe maslenitsa period, everyone should enjoythemselves, and daily visits to other housesor receiving guests in one’s own home are expected.To take advantage of the last days ofwinter, everyone must go sledding, ride carousels,play games, sing chastushkas (Russianfolk songs) and endlessly play the fool. Oneof the main types of entertainment is the masquerade,where everyone must be dressedup to be completely unrecognizable.What: Winter carnival.Where: Throughout the entire city.When: February 2014.Concept author and organiser:Riga’s ECC task group.For this reason, the New Year’s celebrationsmarking the beginning of the year 2014 willalso be special. A magnificent multimedialight and laser show will sketch the vision ofa future Riga – European Capital of Culture.What: Ringing in the New Year andprogramme events that last several days.Where: Throughout the entire city.When: December 31 st –January 2 nd 20014..Concept author: Riga’s ECC task groupCooperation partners: Riga City CouncilDepartment of Culture, Riga culturalinstitutions and hotels.gourmet paradise‘Where have we come from? Where arewe going? And what are we having forlunch?’ once asked the Austrian comedian,Josef Hader, regarding theseas the three most important questionspreying on the minds of contemporaryman. The growing selection of newtypes of food, services and range ofeating recommendations means wetake many individual decisions everyday. Therefore, a special challenge is todrop in on European countries troughthe ‘kitchen door’ and discover what isinteresting and practical in the culinarypropositions of different countries.The gastronomy festival is a celebration oftaste and a journey of discovery into thesecrets of the menus of different Europeancountries. During the festival, presentationsof food preparation traditions fromdifferent countries will be demonstratedin Riga’s restaurants and special menuswill be created. It is anticipated that chefswill be invited from different countries tocirque du soleil in riga?Riga is the only city in the Baltic Statesto have its own winter circus. Thepublic’s interest in the circus is unflaggingand spectators await new programmeswith great anticipation.Built more than 100 years ago (in 1888), theRiga Circus building stands today as it hasalways stood. Throughout its long life, circusperformances have continually been shownhere. Visits to the circus are one of the mostpopular types of family entertainment.The Cirque du soleil was created in 1984by a group of street artists from Quebec,promote a further exchange of experience.The closing of the festival is plannedas a sophisticated culinary experience forRiga’s inhabitants and guests. In KronvaldaPark (Kronvalda parks) near the CongressHouse (Kongresu nams), chefs will demonstratetheir skills and offer samples fortasting. The chefs will work in the open airand during the event, votes will be cast forthe most entertaining chef, the most originalserving method and of course, the besttastingfood. On stage, an auction of thechefs’ work will take place. There will alsobe a special category of food preparation –dishes from different nations prepared fromhealthy products locally grown in Latvia.An Organic Market will take place alongsidethe demonstrations of chefs’ skills.The Organic Market – whose initiatorand patron is Mārtiņš Rītiņš, Director ofRiga’s Vincents restaurant and presidentof Latvia’s Slow Food Association – in cooperationwith the Latvian Association ofBiological Agriculture, takes place everyyear in several places in Riga and hasearned growing interest from Riga’s inhabitants,especially devotees of healthy food.and its performances have been watchedby almost 40 million people in 90 citiesthroughout the world. But not yet in Riga.Why not in Riga?What/Where/When: To be announcedfollowing coordination.Concept author: Riga’s ECC task group.What: Culinary festival and campaigns inRiga’s restaurants.Where: Congress House square.When: June 2014.Concept author: Sarma Freiberga, MārtiņšRītiņš.Cooperation partners: Association ofHotels and Restaurants in Latvia, Chefs’Club, Latvia’s Slow Food Association,Latvian Association of BiologicalAgriculture, x-aģentūra.90 91

midsummer nightbonfires (līgo)Not so long ago, the summer solsticewas a solstice festival for the entire nation.This celebration marks the longestday and shortest night, it is the daywhen the sun has reached its highestpoint in the sky, when the flow of timeappears to stop for a moment. To prolongthe effect of light, bonfires are lit.At the 2014 solstice, Riga will inviteyou to celebrate the shortest night ofthe year, to come together and uniteneighbours from near and far, travellingfrom bonfire to bonfire.The origins of the summer solstice celebrationsreach back into the immeasurablepast – in the sun cults of the farmingpeople. Its origins can probably be datedat least to the era of the Indo-Europeancommunity – 4000 or 5000 B.C. In the 12 thcentury, when German crusaders landedon the eastern Baltic shores, they were notin the least bit surprised by the revelriesand joy, by the bonfires flickering in thedark of night.During the 16 th and 17 th centuries on thenight of 24 th June, Midsummer bonfiresburned throughout Europe, starting fromthe British Isles and extending as far as theUrals. In Italy they were called San Giovannibonfires, in France – the Saint Jean bonfires.They are also burned in honour ofYan, John, Juan, Hans, Johannus, IvanKupala and, of course, Jānis. These bonfiresare lit on the highest hills everywhere,but in large villages and cities – in the centralsquare. Paris used to have a bonfire oneach city block, and the King often tookpart in the ceremony by lighting the SaintJean bonfire himself.It could safely be said that the summersolstice is the most popular Latvian celebration– lights, joviality, songs and thepeak of fertility. Of all the seasonal songs,Latvians have more Līgo songs than anyothers – particularly sonorous songs thatare sung at the midsummer solstice andwhich differ from other folk songs with theirspecific refrains: ‘līgo’, ‘rotā’ or ‘rūto’, dependingon the region in Latvia.It is said that on the night of the summer solstice,the sky opens and a fern blossomswith golden flowers – those who witnessthis can make a wish and it should cometrue. The flowering fern also has eroticsignificance – to search for the floweringfern means to select your other half on thisfertility night. Above all – Jānis’ mother (thehostess) makes cheese and Jānis’ father(the host) brews beer. The singing neverstops.In the city squares, there will be opportunitiesto learn about some of the festivaltraditions by going from bonfire to bonfirein several locations in the city. Folkloreand dance groups will involve everyonein songs devoted to the shortest night.They will also teach various dance steps,similar to Riga’s 800 th anniversary celebrationsin 2001, when tens of thousands ofpeople actively participated in a truly upliftingemotional experience. Throughout theLīgo, also called Jāņi celebrations, an unconsciousjourney through different Indo-European traditions will be discovered inall regions of the city.What: National festival.Where: Throughout the city of Riga and inSigulda.When: 21 st June 2014.Concept author and organizer: Riga’s ECCtask group.Cooperation partners: Folklore groups,craftsmen, dance groups.the great riga gameTo know and recognise Riga, to rediscoverit, to be oneself in one’s owncity. Or to get to know and discover anew Riga. An event for inquisitive andactive people.The “Great Riga Game” is an exciting orienteeringgame for grown-ups and childrenand is a traditional activity of Riga’s annualCity Festival. It is not just recreational innature, but also educational and has beendeveloped at several levels.In one of these levels, the “Great RigaGame” invites its players to orienteer notjust through the city, but also through thecenturies. Polish times, Swedish times,Russian or Tsarist times, times of the1 st song celebrationfor spectatorsSong celebrates a grand day today, allof the spectators are singing!Chorus singing traditions in Latvia areancient and strong. The Latvian SongCelebration takes place every fiveyears, and in between – the Youth SongCelebration. The choral movement is stillactive even in the years between the SongCelebrations. Begun during the festivitiesof Riga’s 800 th anniversary, spectator singalongswith choirs have become a populartradition. During Song Celebrations as wellas other large, urban events. The Songunites!The main idea behind the “1 st Song CelebrationFor Spectators” is to switch the customaryroles, bringing the spectator to theNational Awakening – various stages ofhistory and changes experienced by thecity. To know the pace of history, to recognisea period by a characteristic historicalfact and connect it to a specific place inthe city – this is a challenge for both oldand young.When did the Calendar Unrests take place?Which public place was established inconnection with the Nystad Peace Treaty?Which is Riga’s first water tower? When didthe ‘good old Swedish times’ begin?Because answers to these questions atthis level will also be accessible on theInternet in foreign languages, anyone interestedin Riga will be able to take part.However, it will only be possible to play theentire game on the spot, as there are controlpoints to be visited and express tasksforefront. To place the spectators on themain Song Celebration stage platform, toallow each spectator to feel and experiencethe simultaneous responsibility andelation felt by choir singers during SongCelebration concerts. Anyone can becomea soloist at the 1 st Song Celebrationfor Spectators – the concert director givesthe microphone to a freely chosen singerand the spectator becomes a soloist onthe Mežaparks open-air stage.In order to achieve the full effect of a SongCelebration, there are plans to organize aspectator rehearsal, thereby providing thefeel of what it means for a choir to workwith a conductor, as well as introducing thespectator to the evening concert’s repertoire.Additionally, concert spectator andco-singer rows will be augmented by professionalmusicians and choir singers.What: Concert rally after the Great Talka.Where: Mežaparks open-air stage.to be carried out.After visiting the many control points in differentlocations in Riga, the weary playerswill arrive at the Laboratory of Flavours on11. novembra Embankment. Taste budswill be challenged and delicious prizesawarded for correct answers.The grand prize will be won by those whohave completed the full set of tasks at alllevels of the game.What: Interactive game.Where: Throughout the city of Riga,cultural institutions.When: August 2014, during the Riga CityFestival.Concept author and organizer: x-aģentūra.Cooperation partners: Riga Central Libraryand its branches, Riga’s museums.When: July 2014.Concept author: “Untitled” LtdCooperation partner: League of RigaChoirs92 93

music inspirationlandscapeEurope is diverse. Dozens of countries,hundreds of languages and accents.Are we so different? Not if we examineour roots. Song, one of the most ancientforms of human self-expression, leadsus to the same sources. For example,the drone bass has been preservedin the Balkans, the Baltics, Georgiaand the Pyrenees. This unique formof singing shows that we, Europeans,have a common past, but the processof this first international choir festivaland the response from its participantsassure us that there will also be a commonfuture for new cooperation, at thebase of which are the open minds ofpeople from different nationalities, anopen smile and the wish to get to knowone another.“Music Inspiration Landscape” seeks uncultivatedterritories, friends not yet metand songs not yet sung. The principalactivities of the international choir musicfestival and competition “Music InspirationLanscape” will be an international choircompetition, joint singing, master classes,concerts, a day devoted to Latvia’s regionsand “European Song Day” – an open-airconcert with a united choir, orchestra,soloists and ethnic singers taking part.The festival week – with the choirs of differentcountries singing songs of the summersolstice, which are very different from eachother but at the same time similar in theiressence – will reflect the unity of Europe’smember states and strengthen further internationalcooperation through the processof cultural exchange.“Music Inspiration Landscape” invites usto experience the festive joy of the summersolstice, as well as the ritual of extendingthe period of light into the night throughburning bonfires.The “European Song Days” event isplanned at the largest open-air concertvenue in the Latvian capital of Riga – theMežaparks open-air stage, which is enclosedby a pine-tree forest from all sides.Beacons will be lit and bonfires will burn.Līgo songs will be sung. Meditative silencewill alternate with ancient songs. With theaid of a satellite video, participants of theinspiration landscape will be able to followthe movement of the sun around the earth,until this celestial body returns to us oncemore at sunrise, when it gently brushes thetips of the pine trees and the eyes of theLīgo revellers.The language spoken by Latvians belongsto the Indo-European family tree and togetherwith the Lithuanian language, itforms the Baltic language group. These arethe only surviving Baltic languages, bothconsiderably ancient. In common with, forexample, the Celts, nowadays the numberof the Balts can only be counted as a fewmillion people, which is what makes theopportunity of encountering such lesserknownlanguages and the traditions of livingcollective memories so special.What: “European Song Day”, Internationalchoir festival and competition .Where: Countries of the Baltic Sea region,EU member states that agree to participatein the preparation of festival concertsand the development of master classes.The main location will be Riga.Regions of Latvia, with focus on Vidzemeregion. The festival’s closing concertwill take place in Piebalga, where all thechoirs from the member states will singtogether.When: 20 th to 25 th June, 2014.20 th June–Goodday: Festival opening andEuropean Dance Evening.21 st June – Inspiration day: Mclasses andcreative workshops.22 nd June – championship day: Choircompetition and choir review.23 rd June – solstice celebration: concertsin Latvia’s regions and joint concert.24 th June – Līgo farawells.Concept authors: Agita Ikauniece, UģisBrikmanis, Orests Silabriedis, Diāna Čivle,Zanda Ķergalve.Organisers: Concert Organisation Ave Sol;Riga City Council, Department of Culture.It is planned to establish cooperation withEuropean Union funds for financing, aswell as the Riga City Council, the LatvianMinistry of Culture and Latvian Ministry ofForeign Affairs.Cooperation partners: Professional choirsfrom the EU member states and traditionalart choirs, as well as institutions devotedto the preservation of their countries’national cultural heritage and to thepromotion of amateur group activities. Incooperation with partner organisations,basic principles will be established, bywhich the master class programmes andthe criteria and rules of the amateur choircompetition will be developed.94 95

saxophonia – saxomaniaAchingly sensitive phrases, coaxedfrom a shiny instrument by a musicianon a street corner in Riga’s Old Town,come together in a multi-headed saxophonejoint-choir.Today, the saxophone is one of the mostrecognized and revered sources of musicalsound, a language of communicationwithout borders. Could the Belgian musicalinstrument master Adolf Sax, demonstratinghis newest invention in Paris in1842 – the saxophone – have imagined thepopularity and affection that this instrumentwould gain? Over time, this instrument hastraversed from military and symphony orchestrasto cafes, jazz clubs and streets,and back to the symphony orchestra andsolo stage.riga hip-hopFive days of public workshops led byprofessionals and a grand closing concertwill help youths to spend their freetime in a meaningful way, discoveringand developing their talents, learningabout the existing programs for afterschoolart, music, film, extreme andother sports.The youth organization Avantis, in cooperationwith the modern music school “RhythmInstitute”, will organize the master classesof the festival’s first three days. The classeswill cover various hip-hop culture genres– DJ, Graffiti, BeatBox, Break dance, film,etc. These master classes will be gearedtowards professionals, in order to developand popularize hip-hop culture in their countries.This will also be a good platform forfuture cooperation for the formation of jointprojects, festivals and exhibits.At the same time, it seems that no instrumenthas received such contradictory reviews asthe saxophone. In the mid-19th century itstembre was described as howling, shriekingand croaking, but nowadays – as velvety,sensitive and elegant... Saxophonist ArtisSīmanis, the rector of the Latvian Academyof Music, recalls that when he first played thesaxophone at churches, he was sometimesmet with a negative reaction. Everyone associatedthe saxophone with entertainment andjazz, but now there is a completely differentattitude — the program “Songs of David” wasnominated for a Latvian Grand Music Awardas Best Concert of the Year in 2008.The “Saxophonia – Saxomania” music festivalwill present itself, maintaining a perfectbalance between academic, contemporaryand jazz music. High class performerswith interesting and unique programs willparticipate, providing impeccable profes-The last two days of the festival will be devotedto everyone who attends, and willtake place at the Grīziņkalns Skate Park.The workshops will be open to the publicand will be free of charge for all youths.Attendants will be able to learn more aboutthe various hip-hop culture forms - DJ,BeatBox, Graffiti, extreme sports, etc. Theworkshop masters will work in cooperationwith various artists. At the end of the secondday, a grand closing concert will beorganized, with the participation of hip-hopartists (from Latvia and other countriesparticipating in the project).What: a hip - hop festival and masterclasses.Where: Grīziņkalns Skate Park, CongressHouse.When: April 2014.Concept author and organization: Avantis,“Rhythm Institute”.sional concert performances and unexpected‘jam sessions,’ some of them in excitinggroup ensembles. The festival will bea celebration of sound for music lovers inconcert halls and churches. It will provideexcitement in the streets and parks of Riga.Musicians will plan joint projects, while atthe same time, young and up-and-comingmusicians will gain knowledge in masterclasses.What: Music festival.Where: Concert halls in Riga andthroughout Latvia, Riga streets and parks.When: February 2014.Concept author and organiser: NationalConcert Agency Latvijas Koncerti.Cooperation partners: Latvian Ministryof Culture, Latvian State Culture CapitalFoundation, Embassies of Norway, Estonia,Sweden and Germany, as well as FrenchCultural Centre in Riga.sunny soviet film eventSeveral generations in Latvia grew uptogether with Soviet-era, sunny, joyfulfilms. Those, who are only in theirtwenties or younger also appreciatethese historical films and their music.Hence, a special film soiree entitled “Sunny,Soviet Film Event” will take place at the foot ofRiga’s controversial Victory Monument, whichwas built to commemorate ‘the liberation ofSoviet Latvia by the Soviet Army from Germanfascism.’ The film screenings will take placeat the beginning of May, when celebrationsare traditionally held to mark the end of theSecond World War. Thus, time and place ofthis film event were not chosen by chance.porta 2014“Porta” is a true world music port that willbring the sounds of the world to Riga.“Porta” is the only regular world music festivalin Latvia. Throughout the years, goodcooperation has developed with Europeanproducers and musicians. Previous projectshave brought outstanding musiciansto Latvia from France, Great Britain,Norway, Sweden, Germany, Poland, Portugal,Austria, Belarus, Georgia and othercountries.Event programme description:• For three to four days at the premisesof Sapņu Fabrika, world music concertswill be provided by outstanding Europeanworld music groups and musicians.• Each evening, the concert will feature apreviously successful cooperation projectas the main attraction (Georgian/Latvian,Moldovan/Latvian, Polish/Latvian etc.)• Before the concerts, Sapņu FabrikaOne of the goals of the film soiree “SunnySoviet Film Event” is to gather together those,who usually do not frequent the VictoryMonument, for this unique cultural event.An eclectic public gathers to sit at tables litup by old, Ilyich light bulbs. Quiet conversationstake place in a jovial atmosphere...the audience has been transported backinto the sunny Soviet film era. The screeninglocation, with its particular historicalbackground, provides the backdrop for apeculiar cultural environment and works torestore the feel of long-gone days and traditions.Barriers are broken down to the accompanimentof Soviet film music. The goalof the film soiree “Sunny Soviet Film Event”is to create multicultural friendships.and cinema K. Suns will show documentaryfilms about world folk music and traditions,selected in cooperation with theAustrian company, IZM.• Every day, visitors will be offered traditionalcuisine from various world nations.• Traditional world music master classes,presented by several guest groups, will takeplace at the Latvian Academy of Music.• During the festival, an internationalseminar will be held for European producers,concert organizers, music journalistsand other specialists of the musicindustry. They will be introduced to theLatvian music environment and will attendthe festival’s evening events.• The festival culmination will be a concertby world music pioneer, British musician,Peter Gabriel, at one of the largeconcert halls in Riga.What: Concerts, master classes, filmscreenings, seminarsWhere: Sapņu Fabrika, www.sapnufabrika.lv.When: 5 th -8 th November, 2014.Concept authors: Gita Lancere, Ilze Apsiņa,Film excerpts will be shown on an inflatablefilm screen all evening long – completewith songs from some of the mostoutstanding Soviet era films including the“Circus”, “Moscow Does Not Believe InTears”, “The Happy Boys”, “Volga, Volga”.We hope that there will be much dancing,laughter and pleasant conversing. Anyneed to ask how “Sunny Soviet Film Event”can change people and the atmosphere ofthe place where they have gathered?What: Dance event to the accompanimentof film music and film excerpts.Where: Riga’s Victory Park (Uzvaras parks).When: 1 st or 8 th May 2014.Concept author: Mārcis Gulbis.Cooperation partners: Cinema archivesand community organizations.www.festivalporta.lv.Organizers: Association Pasaules Mūzika.Cooperation partners: In Estonia – theproducers’ association ERP music,in Germany – the publisher andproducers’ association Jaro, in Portugal –Management Gateirs de Lisboa,in Austria – IZM.96 97

in bed with the sun kingThe dramatic art of the Baroque period,the inclination to heightenedcontrasts, the propensity for splendourand decor, the exuberance, passionand dynamics – as opposed tothe Renaissance ideals of gravitariposata (inclination toward rest andtranquillity).fontage caps, accordion-pleated (frilled)collars, lace, wigs and fans will be used inaccordance with established guidelines thathave been recorded in today’s reflections ofBaroque. Stylized painting mock-ups, thescenes of which will be a joint creation of today’sartists and city dwellers, will bring tolife the Baroque atmosphere, which comesto us today through the poses and gesturescaptured in artworks from times gone by. Itis with these manifested poses and gesturesthat humans strive to live on in future generations,thereby becoming immortal.A concert by joint ensembles from variouscountries will take place in the DomeSquare, along with a costume parade, to beconcluded with a final dance performance.This will include various acted and dancedBaroque scenes that contain hidden eroticism.Richly dressed characters from thattime provoked greater erotica than the nakednessof the Renaissance. Human being,who during the Renaissance was anatomicallybeautiful, now acquired sexual beauty:under decorous and modest draping wasliving, breathing flesh.and balls. Theatrical fashion performanceswith frequent costume changes lasted fromearly morning until late at night.From Dome Square in the heart of Old Riga,everyone will be invited to continue onward tothe Rundāle Castle, where the annual EarlyMusic Festival concludes with a Baroque operaperformance and authentic Baroque fireworks.What: Music, dance and fashionperformance.Where: Riga’s Old Town, Rundāle Castle.When: Mid-July 2014.Concept authors and project organisers:National Concert Agency LatvijasKoncerti.Cooperation partners: Latvian Ministryof Culture, Latvian State Culture CapitalFoundation, French Cultural Centrein Riga, Embassies of Sweden andGermany, Rundāle Castle.a different typeof “vienna classic”The words “Vienna Classic” usually referto Austrian classical music masterpieces,but in Riga in 2014, they will alsoherald some new and unique musicalexperiences. Along with the classicalworks of such traditional Viennese composersas Haydn, Mozart and Beethoven,the audience of Riga’s “Vienna Classic“music festival will also get to hear theunusual works of three 20 th -centuryAustrian composers. In addition, theywill be able to watch classic moviesabout various European composers.The “Vienna Classic” festival is primarily devotedto the music of three Viennese mastercomposers – Beethoven, Haydn and Mozart,whose works form part of the golden heritageof European culture and still captivatelistening audiences to this day. The festivalwill offer chamber music and orchestraconcerts in Riga and other places in Latvia,as a sign of Latvia’s close link with the rest ofEurope’s musical culture and traditions, andplacing Riga squarely among Europe’s othermusical capitals. Such symphony works asWolfgang Amadeus Mozart’s sunny andinspiring Symphony No. 40 or Ludwig vanBeethoven’s passionate overture aboutLeonora and Prometheus always drawcrowds wherever they are performed. Theperformance of Georg Friedrich Handel’s“Messiah” (revised by Mozart) in Riga’sDome Cathedral promises to be no lessexciting. This time, the “Vienna Classic”music festival’s traditional concert programme+ will be supplemented with acompletely different kind of music fromAustria, featuring works by the 20th-centuryAustrian composers Alban Berg, AntonWebern and Arnold Schoenberg. Berg’s“Violin Concerto”, Webern’s “Six PiecesFor Orchestra”, Schönberg’s “TransfiguredNight”, “Moonstruck Pierrot” and “Variations”for orchestra will provide the audience withunusual examples of atonal music, serialismand musical expressionism.An additional film programme will be offeredto movie buffs in Riga and all ofLatvia, featuring several screen worksabout musical composers:Frederick Delius – Song of Summer(1968), director Ken Russell;Marin Marais – Tous les matins du monde(1991), director Alain Corneau;Georg Friedrich Handel – Farinelli (1994),director Gerard Corbiau;Jean-Baptiste Lully – Marquise (1997),director Vera Belmont;Wolfgang Amadeus Mozart – Amadeus(1984), director Milos Forman.What: Music festival.Where: Riga, as well as concert halls andmovie theatres elsewhere in Latvia.When: March 2014.Concept author and organiser: NationalConcert Agency Latvijas Koncerti.Cooperation partners: Latvian Ministry ofCulture, Latvian State Cultural CapitalFoundation, Embassy of Austria,Cinema Rīga.The authentic performance traditions ofRenaissance and Baroque music havebeen cultivated in many countries. Latvia’sEarly Music professionals and “EarlyMusic” festival traditions have broughtabout people’s ever-increasing interest.The Old Town of Riga will transform into theepicentre of eras long past, where everythingbecomes theatre; even nature, whichwill be allotted a dramatic compositionalcharacter (complete with artificial cliffs andwaterfalls). Improvised stages will play hostto French Renaissance music, Italian andLatin-American Baroque. Parades throughthe Old Town will showcase various Baroqueand Renaissance-era costumes.It will be a graceful social game, in which suchfashion elements as hoopskirts, (skirt)trains,Ornate beds were created in Baroque interiors,beds that acquired the form of a tentmade from lavish curtains and draperies,thereby practically concealing the woodenconstruction. The traditions of organizingshowy bedrooms with ornate beds developedduring the reign of Louis XIV. Wakingand slumber for the Sun King were accompaniedby resplendent ceremonies,with the royal bedroom transformed froma place of relaxation to a celebration hall.Gradually, the king’s bedroom began toplay the role of reception hall. The SunKing received his guests while lying downor during an intricate dressing ceremony.Funds for garments, accessories and courtinteriors were spared no expense. Ladies’wardrobes contained special clothes for virtuallyevery occasion, especially for strolls“summertime” in jūrmalaLatvia’s world famous opera soloistInese Galante has demonstrated manytimes that singers with an academiceducation can still provide masterfulperformances in practically any musicalgenre. In 2014, Inese Galante and anelite group of world class singers andmusicians will perform several genres ofmusic at the city of Jūrmala’s DzintaruConcert Hall, as well as at other concerthalls and churches in Riga.The annual “Summertime” music festivalis eagerly awaited each year and in 2014,opera singer Inese Galante and pianistInna Davidova will set up a unique musicalprogramme as a special tribute to the cityof Jūrmala. Each year, the festival attractsworld class orchestras and opera soloists,featuring a kaleidoscopic array of chambermusic, jazz, light music and world music.While the festival’s main concerts will be heldat this resort city’s open-air stage, severalperformances will also take place at variousconcert halls In Riga. Unlike many other musicalfestivals that are devoted to one, particularmusical genre, “Summertime” standsout with the wide array of musical styles thatcan be heard at its concerts. During one unforgettableweek, opera and jazz masters,chamber music singers and soloist instrumentalists,as well as choirs, orchestras,ethnographic ensembles and vocal groupswill enthral the festival’s audience underJūrmala’s starry, August skies.The Dzintari Concert Hall was one of the firstopen-air concert halls to be built in Latvia.Its acoustic qualities have been praised byprofessionals and its open sides (i. e. nowalls) help it to blend in with the surroundingscenery of Jūrmala’s beach dunes andpark.What: Concert series featuring variousgenres of music.Where: Jūrmala’s Dzintaru Concert Hall, aswell as various concert halls and churchesin Riga.When: 2 nd and 3 rd week of August.Concept author and project implementation:Hermanis Brauns Foundation.98 99

from classicalto avant-gardeRiga’s International “Baltic Ballet Festival”has brought in new impulses tothe aesthetic development of Latviandance. The festival’s goal is to addsome missing, yet potentially significantthemes to Latvia’s dance scene,to qualitatively and quantitatively influencethe dance art scene and to expandthe art horizons of dance in Latvia.The ballet festival’s central events will be:A new multimedia project – an original balletperformance based on the motives ofHenrik Ibsen’s play “Peer Gynt” – in cooperationwith cultural institutions and creativepersonalities from the Nordic countries.The basis of the project’s content isa reflection of contemporary value scales,based on the Norwegian author’s immortal,classic work.A symphony orchestra concert entitled“Ballet music chefs d’oeuvres”. The programmewill consist of international classicaland modern ballet music. The vastarray of ballet music to choose from willprovide the performing orchestra withample means to further expand the stylesof music that it plays.• Guest performances in Riga by a classicalballet troupe from St. Petersburg,Russia. The Saint Petersburg ballet schooland troupe continue to maintain timeless,classical ballet traditions and to producesuperb ballet dancers, whose performancesare inspiring and provide an upliftingartistic experience.• Guest performances by outstandingmodern dance companies from Europeand the USA.• Festival opening and closing events atRiga’s central railway station and in Rigacity squares.• Gala concert with the participation ofsome of the world’s brightest dancing stars— a programme of classical and moderndance.• Latvian dance marathon — a democraticdance event with the participation ofthe audience, as well as Latvian moderndance groups and invited guests fromLithuania and Estonia.• Master dance classes for practicingdancers, in order to promote the exchangeof ideas and experience and to expand thedance teaching platform in Latvia.• Exhibitions on the theme of dance withthe participation of artists from variousEuropean countries.Where: Riga theatres and concert halls,other outdoor venues in the city, as wellas the Latvian cities of Ventspils, Valmiera,Preiļi and Jelgava.When: April and September 2014.Concept author: Lita Beiris, www.balletfestival.lv.Organisers: „Litas Beires Dance ArtCentre”.Cooperation partners: Office of the NordicCouncil in Riga, Danish Cultural Institute,French Cultural Centre in Riga, GoetheInstitute in Riga, Latvian National Opera,Latvian Modern Dance Association andLatvian Fashion Dance Studio.new music +New musical compositions will be composedespecially for this unique festival,incorporating a wide range of musicalgenres ranging from electroacousticto symphony music. These works willbe created in conceptual cooperationbetween the composers and their newpartners from the visual and stage arts,film, science and other fields.In 2008, the Latvian Composers’ Unionlaunched the annual “Latvia’s New MusicDays” festival. Its principal goal is to providelive venues for musical works thathave been penned during the past fewyears by composers from Latvia. Therange of music performed at this festivalis very wide, ranging from electroacousticmusic to large format symphony andvocal symphony works. Starting in 2010,the festival plans to introduce a more activesynthesis of various art forms, includingdance, stage and visual art within theframework of the festival. The possibility oforganizing the “Latvia’s New Music Days”festival within the framework of the 2014ECC 2014 programme would provide theopportunity to continue and to expand thisinnovative festival’s activities.Outline of “Latvia’s New Music Days” in 2014:• Musical performances in conjunctionwith other fields of art, such as dance,stage art, cinematography, visual art, aswell as science (for example, Latvia’s nationalchamber orchestra “Sinfonietta Rīga”is currently cooperating with composerKristaps Pētersons, who is composing amusical piece to accompany the screeningof the Latvian silent film “Bearslayer”. Apremiere performance, with the chamberorchestra performing Pētersons’ work whilethe movie is screened, would be possiblewithin the framework of Riga’s ECC 2014programme).• Performances by some of Europe’smost outstanding musical artists, ensemblesand conductors in the presentationof new musical works by composers fromLatvia (for example, “Ensemble Modern”,the Concertgebouw chamber orchestra,“Rambert Dance Company”, HeinzHolliger, etc.).• Along with indoor concert performances,the range of concert venues wouldbe expanded. For example, in cooperationwith multimedia artists, ‘musical objects’(electroacoustic music + installations andvideo art) would be created in conjunctionwith Riga’s ECC 2014 thematic frameworkand would be displayed outdoors in variousparts of the city.What: Music festival.Where: New Riga Theatre, Cinema Rīga,Riga Art Space, Small Guild in Riga’sOld Town, as well as a number of nontraditionalconcert venues: Riga airport,Riga central train station, shoppingcentre Galerija Centrs, various parks inRiga and Port of Riga.When: March 2014.Concept authors and creative group:the composers Kristaps Pētersonsand Gundega Šmite. Gundega Šmitealso chairs the board of the LatvianComposers’ Union, www.lks.org.lv.Organizers: Latvian Composers’ Union.Potential cooperation partners: NationalFilm Centre of Latvia, Latvian Union ofArtists and Latvian Science Centre.100 101

the opera of goodhumouredfantasiesAny phenomenon has two sides: thevisible and the invisible, the knownone and the imperceptible one. Usuallythey do not dwell on the same plane,but there are exceptions. And the Cityof Riga is one of such exceptions. InRiga there exist two parallel worlds,each only surmising the existence ofthe other. We have a chance to changethis situation and we have to begindoing it today. We have to pull downseveral barriers built by language andsocial differences.The idea has inspired a large-scale performancein Arēna Rīga. It will be a sumptuousfantasy show which will combineelements of opera, ballet, modern dance,circus and athletics. But what is evenmore important, this performance will be ateamwork of professional artists and varioussocially vulnerable groups of society:children with special needs, street childrenand youth, retired professional actors,ballet-dancers and opera soloists who oftenfeel forgotten once the prime of theirlives is over and their brilliant careers havecome to an end.The premises of the Arena allow to expandthe opera genre into broad spatial terms,turning it into a multi-dimensional show by,for example, staging the reflections of fantasyin Mozart’s Zauberflöte in a new waythat has not been seen in Riga yet in orderindirectly to address the most importantaspect: even if only for a moment to mergethe realities of our daily lives to change thestandardized concepts. Such dynamic,high-quality show permeated with kindnessand cordiality will appeal to the culturalexperience of new audiences.A team of high-level professionals will beset up to bring to life this grand-scope idea.In 1212 the working group of the multimediashow will start addressing the potentialparticipants, trying to identify them in theplaces of gathering of ‘disadvantage’ childrenand youth in Riga dwelling districts.Professional choreographers and teachersof music will work with these children andyoungsters until September 2014 to trainthe potential participants for the show.Approximately 1200 participants are expectedto take part in the show.Where: Arēna Rīga, video broadcast to alldwelling districts of Riga.When: Beginning of September.concept author and organisation: Riga’sECC task group, National Concert AgencyLatvijas Koncerti.Cooperation partners: Latvian NationalOpera, Riga Circus.Participants: Artistic manager AndrisNelsons; soloists Maija Kovaļevska,Egils Siliņš, Aleksandrs Antoņenko;head of choreographers’ group MikhailBarishnikov; Latvian National SymphonyOrchestra, professional Latvian choirs,children and youth of Riga and otherparticipants.european christmasA Christmas market with culinary wondersfrom various European countries;performances by magicians and streetmusicians in Riga’s Dome Square duringthe day; concerts by musical ensemblesfrom all over Europe in concerthalls and churches during theevening. These events will signal theopening of the “European Christmas”festival, which will reveal the colourfulChristmas traditions of many Europeancountries.It will look like a picture from a storybook: amarket square with wooden stalls, staffedby jovial people offering Christmas toysand roasted chestnuts for sale, with thefragrant smell of gingerbread cookies andhot wine in the air... This will be a sure signthat the “European Christmas” festival hasbeen launched in Riga’s Dome Square.There, one will be able to learn about theChristmas traditions that are practiced inmany European countries.In accordance with English traditions, askating rink will be set up in the marketsquare and traditional Christmas carolswill be sung in Riga’s Old Town squares.The world’s most famous Christmas song,“Silent Night”, which originated in Austria,will be performed in Riga’s Old Town indozens of languages.The Scandinavian countries will be representedin full force during a mythologicalmasked parade – complete with Vikings,elves, trolls, goats and devils. The delegationfrom France, for its part, will show howto make tasteful store and office decorationswith apples, paper blossoms and ribbons.They will also demonstrate a game devotedto the birth of Christ, complete with a manger,the Virgin Mary and Joseph, to remindus all about the roots of Christianity.At the German Christmas market stalls, onewill be able to try out a glass of traditionalwinter hot wine, along with gingerbreadcookies, fried sausages and potatoes.Glass and wood decorations, wooden toysand German Christmas pyramids will alsobe on display.Riga has its own, special Christmas legend,which states that the practice of decoratingChristmas trees began in Riga in 1510and gradually spread around the worldto become an enduring Christmas tradition.Some Latvians still practice anotherancient tradition of dragging a log aroundtheir homestead on the day of the wintersolstice, thus drawing out all evil, and thenburning the log in a fire.All these European traditions and more willbe seen in Riga’s Old Town during the day,while during the evening, various professionalmusicians and ensembles (“HilliardEnsemble”, the string quartet Euphonia,the Riga Dome Boy’s Choir, the baroqueorchestra Collegium Musicum Riga, theLatvian Radio choir, the Estonian bell choirArsis) will perform in a number of concerthalls and churches. The central musicalevent will be a mixed choir concert,in which two to three singers from eachparticipating country will join together withtheir neighbouring colleagues to form aunited, European choir and to sing traditionalChristmas carols.The European Christmas festival will providea splendid opportunity for everyone tolearn about the Christmas traditions in theirown and in their neighbouring Europeancountries.What: Musical and other performances atChristmas markets and concert halls.Where: Riga’s Old Town, Dome Square,concert halls and churches in Riga andother Latvian cities.When: December 2014.Concept author and organiser: NationalConcert Agency Latvijas Koncerti.Cooperation partners: Latvian Ministry ofCulture, Riga City Council, Departmentof Culture, Latvian State Cultural CapitalFoundation, Embassies of Italy, Spain,the United Kingdom, Norway, Sweden,Denmark, Germany and the FrenchCultural Centre in Riga.102 103

104amber vein

Amber embodies a paradox. On the one hand, it is an inertrock and a component of inorganic nature. But on the otherhand, amber is a relic of the living past, a piece of organicmatter, and the lifeline of plant life. As a mineral, amber, likeall stones, is eternal, quite unlike the transitory elementsof human existence. But as a prehistoric plant extract, amberreawakens in our modern-day consciousness a senseof eternal return, traditional cycles of reawakening – likethe seasons, the path of the sun, and the spiral of humanlife, which repeats the same model for generations. Amberhas a new symbolic value in the consciousness of today’sidentity, aware of traditions that aren’t just dead and gonebut, rather, are tangible proof of something indestructiblyalive. 1“Amber Vein” is a thematic line that will reveal those scientific andcultural achievements that are valuable both as excellent accomplishmentsand as remarkable contributions to the global community.This is Riga’s and Latvia’s investment in world culture andthe development of human creativity. As part of the EuropeanCapital of Culture programme, the “New Amber Route” will bea European cultural cooperation network created by the city ofRiga, which will unite the cities in the ancient amber trade route ina new, interdisciplinary partnership. Why did we choose amber forthis thematic section? What’s so special about this natural mineralthat people living along the Baltic coast have grown so accustomedto in everyday life? Amber is a virgin element that containsthe code of evolution.Amber: A ‘Child of Nature’ created under the influence of aclimatic force majeureDzintars, the Latvian word for ‘amber’, comes from the Latinsuccinus; the English word ‘amber’ stems from the ancient Persianambare. Amber has been given many other beautiful names in variouslanguages: in Latvian, dzintars is the ‘sun stone’; in Russian,alatir is ‘sea incense’; and in Finnish, Estonian, and Arab, amber is‘sea stone.’ People in various time periods have always believedin the mysterious powers of amber, regardless of what they calledit. Amber is usually yellow with various other subtle colour tones,from yellowish red to yellowish brown. White, green, and blackamber may also be found. Researchers have claimed that ambercan come in 216 different colours.The first written testimony of amber appeared in Assyrian cuneiformcharacters, in 1000 B.C. The first person to mention the plantorigin of amber was the ancient Roman historian Pliny the Elder(23–79 AD), who concluded that amber was composed of resinthat had hardened in the cold. Now most researchers agree that,about 50–60 million years ago, when the Scandinavian Peninsulawas attached to the eastern shore of the Baltic Sea, the foreststhat gave rise to amber grew on the coast of the North Sea. Atthat time, the climate in this region was similar to that of moderndayAfrica, and the subtropical and tropical forests were homemostly to palms, cypresses, oaks, chestnuts, pines, and firs. Inthese forests, pine trees (pinus succinifera) secreted a wealth ofresin. During storms and other atmospheric disturbances, thisresin ended up in the water, where it hardened and was eventuallycarried south. What we call amber is no longer primordial resin; itis a mineral that has formed over a long period of time.As the earth’s climate changed and the temperature rose, plantsin extreme conditions began to produce more and more succinicacid, which found its way into resin. More developed organismstried to use external sources to make up for the deficiencies in thissubstance. This is perhaps why many insects were instinctivelyattracted to liquid wood resin, where they drowned and in whichthey have been preserved to the present day.Amber on the scale of valuesThe Romans valued Baltic amber so highly that a piece of amberthe size of a child’s fist was worth more than a healthy youngslave. Their predecessors the Villanovans and Etruscans (1200–600 B.C.) considered amber more valuable than gold. And duringthe Bronze age, 3,500 years ago, Baltic amber was consideredthe main precious mineral in all Mediterranean civilizations – theGreeks, the Minoans, and the Egyptians. A few examples: WhenHeinrich Schliemann discovered the ruins of Troy he also found10,000 amber beads. In 1922, when Howard Carter found thetomb of Tutankhamen, he had no idea that the dull brown resinin the middle of the golden ‘heart scarab’ (the single most importantjewel on the pharaoh’s mummy) was amber, the ‘sun stone’,as was the necklace in his casket. In the Old Testament, KingSolomon’s ring was made of amber, and Baltic amber beads havebeen found in archaeological sites in the Near East dating from3500 and 4200 B.C. 2Healing propertiesThe Ancient Egyptians knew that amber had unique healingpowers. In Ancient Egypt, resin was an ingredient in embalming substances.The Egyptians also prepared a drink from amber groundinto powder, which they then mixed with wine and honey and usedto strengthen the heart and other organs. Pliny the Elder (23–79A.D.) wrote that Italian women wore amber around their necks, toprotect against an enlarged thyroid gland and other throat diseases.These so-called ‘health necklaces’ – uncut amber threaded on alinen thread – are still worn today by women in the Baltic States. InBelarus, amber was used to treat insomnia; pieces of uncut amberwere placed beneath the pillow or hung at the head of the bed. Tothis day, amber spirit extract is used to treat and prevent colds, variousheart conditions, and circulation problems.The transformation of amber in new scientific discoveriesAmber has its own DNA. By analyzing the chemical componentsand radioactive carbon data of a piece of amber, scientists candetermine whether the amber comes from the Baltic coast or otherlocations. Scientists call amber from the Baltic region succinites.Inga Ļašenko, a researcher at the Biomaterial and BiomechanicsInstitute at Riga Technical University, is the most outstandingspecialist in modern ‘amber science’ well beyond Riga andLatvia’s borders. She has won two prestigious awards: a GoldMedal for Innovation and a Gold Medal for Science from theWorld Intellectual Property Organization. These medals provethe importance of I. Ļašenko’s work in the development of newinnovations and confirm its great practical significance. Thescientist conducts experiments in the construction of amber bloodvessels, which may someday be used in heart and blood vesselsurgery. At the Egyptian National Library in Cairo, I. Ļašenko discovereda manuscript that tells of Egyptian efforts to make bloodvessels from amber, two thousands years ago. I. Ļašenko’s firstdiscoveries show that an amber electron donor with a negativeelectric charge considerably lessens the formation of thrombi inblood vessels, which is the problem with traditional implants. Shehas also created composite amber threads that can be used bothfor medical purposes and for textile products. Likewise, ProfessorĻašenko has developed a line of amber-based natural cosmetics,which provide surprising effects.The eternal art of amberFor centuries, amber has served both as an object of beauty andproof of one’s social status: the more ornate the amber decorationson a person’s clothing and jewellery, the more influential he or shewas in society. At the end of the Stone Age, people most often usedamber to make necklaces; this is confirmed by archaeological discoverieson the Baltic coast, in Scandinavia, and in a few regionsof Ukraine. In the late Stone Age, amber was carried farther intoEurope, where the craft of amber processing was established – thepractice of cutting, boring, and polishing. During this time amberwas also brought into Egypt, where it was used to make jewelleryand other cult objects.106 107

Latvian scientists have unearthed world-class archaeologicaldiscoveries at the marshes of Lake Lubāna, in the eastern partof Latvia, where amber workshops were in operation more thanthree thousand years before our era. Thanks to internationally recognizedarchaeological research by Latvian scientist Ilze Loze,the mid-Neolithic amber workshop in the Lake Lubāna marshesof Eastern Latvia, discovered in 1960 and studied until the earlynineties, has given us the oldest amber necklaces found inEurope.Among the many other valuable artifacts found at Lake Lubāna,archaeologists also discovered a necklace typical of Afghanistanand Egypt from the period 5,000–3,000 B.C. Another necklace,found in nearby Zvidze, is incomparably older than the jewelleryof the Egyptian Old Kingdom period and the artifacts foundamong the strings of necklaces in the Sumerian royal family’stomb in Ur. The Afghan-style necklace was made of alabaster,and the Zvidze necklace was made of gold and orange cornelian.For purposes of comparison, the Egyptian Old Kingdom periodlasted from 2650–2300 B.C. and the Zvidze necklace dates from3611–3523 B.C. Another unique feature of the more than 4,000-year-old amber workshops at Lake Lubāna is the amber crafting‘innovations’ and advanced technological methods employedby the people of that time. Spherical amber necklaces, whichare only one millimetre short of ideal globular form, have turnedout to be unexpectedly ancient. The ancient amber practitionersof the Lake Lubāna marshes were not only craftsmen, they alsointroduced new technologies. In the late Neolithic period theyperfected their techniques and introduced special amber jewellery,including circular pendants also characteristic of Europeansouth-eastern territories, made of gold, silver, or copper with astem-like top for boring special holes (‘stemmed rings’, to useMarija Gimbutas’s phrase). The latter were also characteristic ofthe ancient Varna Necropolis on the coast of the Black Sea inBulgaria, which is filled with golden accessories and which isstill considered older than most ancient burial places in Egyptor Mesopotamia.Button-like amber necklaces were introduced by the craftsmenat the amber centre in Sambia 3 and could have initially only appearedin Europe as a result of bartering. They are not characteristicof Western or even Central Europe.Today, amber necklaces and other art objects are still craftednot only by Riga’s craftsmen and women, but also those livingelsewhere along the Baltic coast. In turn, the Polimoda Schoolof the Versace fashion house has expressed an interest in IngaĻašenko’s amber threads.History of the Amber RouteHistorians refer to the Amber Route as belonging to the ‘highestleague’ of ancient European trade routes, to borrow a term fromthe world of sports. Amber is mentioned as a valuable currency inwritten sources dating back to the Stone and Bronze Ages. Moreancient proof of the existence of the Amber Route may be found intexts from the era of the Roman Empire and, later, from ChristianRome. During this time, the ruling powers documented evidenceof their period and their achievements in various fields, includingthe significance and impact of trade routes on the life of powerfulRomans and ordinary citizens.One of the most fascinating quotations about the ‘top five’ in theRoman trade route’s ‘highest league’ comes from a geographicanalysis by C. R. Beazley. Though his text seems like a very simplifieddescription of the era, when compared with contemporarygeographic studies, the citation nevertheless reveals the rangeof the trade route and the place therein occupied by the Baltics:‘What were the trade routes in the Roman world when that worldbecame Christian? What routes did Christian Rome inherit frompre-Christian times? These roads existed unchanged through theentire early Middle Ages, but were, of course, overseen by differentnations. For the most part, these routes went from east towest or from west to east. There weren’t many trading opportunitiesto the north, beyond the Elba and Carpathian Mountains, orto the south, beyond the Saharan and Arabian deserts, except fortwo exceptions: amber trading on the Baltic coast, and the tradingof gold, elephant bone, and slaves on the coast of Zanzibar, onthe other side of Cape Guardafui. These routes moved like enormousmountain ranges, or geographic latitudinal lines, across theOld World.’ 4This information is further confirmed by Sir Mortimer Wheeler, whowrote: ‘The new discovery of the Silk Route up to the Stone Towerin Tashkurgan, after Emperor Trajan’s war campaign in the directionof the Tigris River, and Julian’s dispatching of a noble agentto Baltic shores…can be listed among the highest achievementsin Roman commerce.’ 5Cambridge University Professor, Māra Kalniņš, author of “AncientAmber Routes”: From Riga to Byzantium, emphasizes that ‘Riga,with its New Amber Route cooperation proposition has two verystrong arguments:1 The Geographical Argument:Since the end of the last Ice Age, the Gulf of Riga has been thestarting point for an amber trading network that spanned theentire European continent and beyond. All cultures, civilizations,peoples desired the ‘sun-stone’ and the amber trade could beseen (quite legitimately) as the first example of a pan-Europeanmarket, a kind of European Union (only the trade in flint occursearlier in human history).2 The Temporal Argument:Firstly, there is the documented importance of amber in historicaltimes from the 13 th century, when the Teutonic Knights secured amonopoly on the substance (which was so valuable that the revenuesfrom amber paid for the entire annual costs of the Order) tothe great Medieval and Renaissance amber guilds which createdwonders for the courts of princes and kings, popes and bishops,to modern times (e.g., the fabulous “Amber Room” of Peter the1Vaira Vīķe-Freiberga. Proceedings of the 4 th International Conference on Amberin Archaeology, Opening address, Talsi, Latvia, 2001//Latvian History InstitutePress, Riga, 2003.2Dr. Māra Kalniņš. Letter to the Riga application task group/20093Sambia (Semba, in Lithuanian, or Samland, in German), also known as theSambian Peninsula, was a Prussian territory on the peninsula between theCuronian Lagoon, the Baltic Sea, and the Prussian Lagoon (now the VistulaLagoon). Due to its wealth of amber and favorable geographical position, Sambiawas the first Prussian territory to become known to Western traders (Mugurēvičs,1995, pp. 24–27).4Beazley, C.R.. The Dawn of Modern Geography, vol. 1, p. 178 (London, 1897).5Sir Wheeler M. Rome beyond the Imperial Frontiers. London, 1954, p. 155.6Dr. Māra Kalniņš. Letter to the Riga application working group, 2009.Great and, in our own time, the wonderful Amber Altar in Gdansk,being made by Mariusz Drapikowski, which when completed willbe the largest amber artifact ever created, larger even than the“Amber Room”).Secondly, it is the story of Baltic amber in pre-history. (We alreadymentioned the great value that the Romans saw in amber and thejewel status it possessed in Greek, Minoan and Egyptian civilizations).Amber was, if anything, even more important in the StoneAge, to which research on amber workshops in Eastern Latvia,in the surroundings of Lake Lubāna, testifies. These workshopswere the crossroads between the western amber sources and theeastern (Moscow river basin) lands which produced flint 6 ”.108 109

expedition insearch of the newamber route 1After considering Riga’s possible contributions,as European Capital of Culture,to the contemporary European culturalcommunication network, we have chosento follow the historic Amber Route,uniting Northern and Southern Europeand transgressing the traditionalboundaries that we call Europe. Muchhas been written about the role of Rigain various time periods as a member ofthe Western-Eastern route, but the roleof Riga and the rest of Latvia in the implementationof the Northern-Southernaxis has been forgotten, and continuesto be shrouded in mystery.In the application for Riga as ECC 2014,the modern Amber Route signifies a newcultural cooperation network betweenEuropean cities located on a Northern-Southern axis. This was inspired by the ancientAmber Route and the significance ofamber in various cultures and fields of life.However, the “New Amber Route” encompassesmore than just amber. Its centralgoal is to bring about a new contributionto the network of human and cultural connections,within the framework of the aforementionedgeographic axis.The creation and renewal process of this cooperationnetwork is an expedition that willattempt to disclose the secrets, keys, andessence of the modern Amber Route, bringingtogether people from various cultural,scientific, and business fields, so that theymay learn together and transfer acquired informationand experience to their activities.The expedition is the main project in thisthematic line; it unites representatives fromvarious fields in a single team, which will visit110 111

the cities of the ancient Amber Route. Thissharing of experience and knowledge willlead to an act of cohesion, surprising thoseinvolved and contributing to the creation ofnew achievements and cultural events.Pliny once wrote about a Roman nobleman(eques), who was sent by the patricianJulian to Prussian shores in order to bringback large amounts of amber. Scholarshave argued about whether this Roman noblemantravelled to Prussia simply to bringback amber, or whether he also went thereto discuss the introduction of a unified customsduty, which would lessen the manycustoms duties imposed over the courseof the long journey. 2 Riga’s “New AmberRoute” partnership project is an attemptto break down the boundaries erected bystereotypes (the ‘typical’ Northerner, or the‘typical’ Southerner), and to bring togetherpeople from various spheres for new culturalexperiences and events. The projectalso aims to create, through new culturalnetworks, a type of modern cultural ‘currency’:high-quality partnership projects,which are marked by excellence and theability to fascinate the minds of many andimprove the quality of life.Cities in the “New Amber Route”cooperation network 3Cities in the Northern-Western-SouthernAmber Route partnership:Riga – Liepāja – Klaipēda – Kaliningrad(Königsberg) – Gdansk – Lübeck – Bruges– Vienna – Aquileia in the province of Venice– Rome – Athens.1The working group based its studies of the AmberRoute on research by Latvian and internationalhistorians. Of particular assistance were the studiespublished by the International Conference onAmber in Archaeology, in Talsi, Latvia, in 2001, andthe highly acclaimed book “Ancient Amber Routes”Waterways: Baltic Sea, Vistula – Morava –Danube; Elbe – Rhine – Rhone.Cities in the Northern-Eastern-SouthernAmber Route partnership:Riga – Rēzekne (in association with the nearbyLake Lubāna marshes) – Daugavpils –Sevastopol (formerly Chersonesus) – Istanbul.Waterways: Daugava – Dnieper – Black Sea.Different fields in the “New Amber Route“cooperation network and expeditionCulture – Inspired by the many uses of amberin various cultures throughout history,the “New Amber Route” opens up the opportunityfor projects in and between variouscultural sectors, including, but certainly notlimited to, the fields of art, fashion, design,music, textile art, archaeology, literature, andphilosophy.Business – The Amber Route, as has beenmentioned several times, ensured the lifelinefor commercial transactions in varioustime periods, throughout the European continent.The “New Amber Route” offers tocollaborate in the process of sharing economicknowledge and supporting creativeindustries.Science and medicine – Scientists haveconfirmed the healing properties of thisvaluable mineral. Artwork and cultural experiencesinspired by physics are currentlyvery actual in the world of art and multimedia.In this context, the relationship betweenculture, medicine, and chemistry has a future,especially taking into account society’sgrowing interest in ‘eternal youth’ and othermatters related to public health.and the Geographic Discovery of the Eastern Baltics(Zelta ābele: Stockholm, 1962), by Professor ArnoldsSpekke. We would like to express our gratitude toIlze Loze, of the Latvian History Institute, and Dr.Māra Kalniņš, professor at Corpus Christi College,University of Cambridge, for their generous support.Climate Change – The conditions thatbrought about the creation of amber highlightthe importance of climate change. Itseems as if the relationship between cultureand climate change could heat up, asglobal discussion and activity regardingclimate change and environmental issues inthe twenty-first century continue to grow.Person to Person – This dimension of the“New Amber Route” provides for closer contactbetween individuals. It also foresees theeradication of superficial impressions anderroneous stereotypes about people in thenorthern and southern parts of the continent.The results of other projects in the afore-mentionedfields reach their culmination, their ‘dayin the limelight,’ by involving a wide range ofpeople from local society. This perspectivereflects, in modern form, the people by theBaltic Sea described in ancient Roman texts,as well as their unique customs and rituals.Schedule for the “New Amber Route”cooperation network2009–2010 – Research of possible cooperationprojects and initial contact with cities.2011 – Basic development of projects; reinforcementof direct contacts with peopleinvolved in projects; budget approval.2012–2013 – Project development and finalization.2014 – Project implementation, withinthe framework of the European Capitalof Culture programme, in Riga and othercities involved in the “New Amber Route”project; exploration of future possibilitiesfor the project; contact with upcomingECC cities.2Spekke, Arnolds. Ancient amber routes andthe geographic discovery of the Eastern Baltic.Stockholm, 1962. p. 58.3Other cities may become involved over the courseof the project.one day in europeA single 24 hr period in the life ofEuropean member states, which issimultaneously recorded, in all theparticipating countries, through thelenses of thousands of professionalphotographers and hundreds of thousandsof amateur photographers.After the campaign, the photographswill be featured in many travelling exhibitions,thereby strengthening theinternational connections forged duringthe campaign.The international photo campaign “One Dayin Europe” is a photo project of unprecedentedscale in Europe. It will not only provide achance to create and strengthen an internationalcooperation network in the photographyfield, but will also inspire European citizensto look at the distinctive features of theirhome country through the camera lens. Thisproject not only tears down boundaries andunites practitioners and enthusiasts fromthe photography field, it also provides inspirationto record and appreciate that which isdifferent about each specific place, as wellas to repeat this unique experience after fiveor ten years.The photo campaign “One Day in Europe”offers a chance to record, through thecamera lens, the peculiarities of theAmber Route, on each stage of its path.The campaign unites practitioners of thephotographic arts by tearing down andexpanding existing boundaries, inspiringand attracting young talent, and creatingan international and enduring culturalproject. In this project, Latvia is not just amember state and Riga is not just a city;they are both the initiators and organizersof the project and the centre of the action.This is an international photography campaignthat will combine both professionaland amateur photographers.Like the photo campaigns “One Day inLatvia,” organised in 1987, and “One Dayin Latvia: Twenty Years Later,” in 2007, theaim is to record or document a single day –24 hrs in the lives of the participating countriesthrough the camera lens, accordingto previously established methodologicalprinciples. If all goes according to plan, thecampaign will be repeated after five or tenyears. In this way, the project will achievenot only artistic results but also a historicallysignificant documentary of a specifictime, revealing the individuality and distinctivenessof each nation.What: International photo campaign.Where: Planned campaign locations include:a) all countries in the Baltic Sea region,b) all European Union Member States.The number of states participating in thecampaign is largely dependent on the capacitiesof the partner organizations andthe amount of EU funding.The organizational and principal coordinationpoint of the campaign will be Riga. Incollaboration with the partner organizations,the organizers will formulate basicprinciples according to which routes willbe planned for the professional photographersand themes will be developed forthe amateur photographers.When: The international photo campaign isplanned in two stages:1. Pilot Project.One 24 hr period in the year 2011, sometimebetween May and September. Followingthe pilot project, the photo archive accumulatedduring the event will be used tocreate a travelling photo exhibition and topromote publicity for the 2014 photo campaign.2011 marks the sixtieth anniversaryof the founding of the European Union.2. International photo campaign “One Dayin Europe”The time period for the campaign is a single24 hr period in 2014, sometime betweenMay and September. Project participantswill include professional photographers,amateur photographers, and photo enthusiastsfrom the participating countries.Photography professionals from each participatingcountry will be given previouslyplanned routes, and the photographers willbe divided into two groups:Group 1 will record events in a participatingcountry other than their own during the24 hr period (similar to the pilot project).Group 2 will record events in their owncountries during the 24 hr period.Photo enthusiasts and amateurs will recordevents in their own country over a 24-hour period,choosing one or more of the previouslydeveloped themes. After the photo campaign,all the photo materials will be collectedfrom each participating country; these materialswill then be processed and systematizedand used to create the exhibitions.Concept authors: Ilmārs Znotiņš, ViestursKoziols, and Daiga Livčāne. AssociationViena Diena.lv.www.vienadiena.lv.Organisers: Association Viena Diena.lv.In addition, in preparing the campaign,cooperation will be established withEuropean Union financing foundations, aswell as with Riga City Council, Ministry ofCulture and the Ministry of Foreign Affairs.Cooperation Partners: Professional photoorganizations, city and state institutions, andbusinesses in the participating countries.112 113

amber experienceIn the consciousness of the new generation,amber is often connectedwith stereotypes about things relatedto the past or rooted in national traditions.The dance music show “AmberExperience” attempts to break thispreconception.This project offers the new generation a futuristicstory about amber, which looks backat the origins of this mineral through theprism of climate change and examines thehealing properties of amber from the viewpointof scientific discoveries. Today, artworkand cultural experiences inspired by physicsare extremely topical in the world of artand multimedia. Scientist Inga Ļašenko hasdiscovered a way to use amber as a screencoating, which can create an unexpectedeffect. This proves once again that amber isa storehouse of timeless knowledge.World-famous DJs have frequently visitedRiga during their concert tours and dancemusic shows have often been staged inthe city, much to the delight of local audiences.In 2014, “Amber Experience” will bea grandiose dance music show and thefirst original production of its kind in Latvia.The production will feature original decorations,specially designed costumes, anda light show, whose central motif will beamber.Quality performances by local disc jockeysand famous European DJs, combinedwith a psychedelic amber colour spectrumreflected in the lights, costumes, and decorations,will make for an unprecedentedand surprising extravaganza!What: Original dance music show.Where: Arēna Rīga.When: October.Concept authors: Riga’s ECC task group.the organ at theriga dome cathedralresoundsThe organ at the wonderfully acousticRiga Dome has an inimitably beautifultone. The instrument leaves a greatimpression on the listener, enchantsmany visitors, and attracts music loversfrom all over the world. ‘It’s a divineinstrument, which merges acoustically,emotionally, and philosophicallywith the grandiose structure that givesit a home,’ says organist J. Ļisicina.The organ at the Riga Dome is consideredone of the most valuable historic organs in theworld. The instrument was built in 1883/1884by E. F. Walcker & Co., and is counted amongthe greatest achievements in late-Romanticperiod organ construction. The organ is ofthe highest technical and artistic quality, andcan surely be mentioned alongside otherremarkable examples of organ craftsmanshipsuch as the Silbermann organ, at theFreiberg Cathedral, or the Schnitger organ,at St. Jacobi’s Church in Hamburg.The organ at the Riga Dome has 124 registers,4 manuals and pedals, and 6,718pipes of various sizes and materials, whichare arranged on 26 wind chambers. Thepipes were built of various kinds of wood(pine, fir, maple, oak, beech, and pear) aswell as from metal – a tin and lead smeltingin various proportions. The pipes come ina range of sizes: the largest is 10 meters,and the smallest is only 13 mm long. Fiveorganists will be invited to this series of organmusic concerts, along with Latvian organistswho live and work in Europe (suchas Ligita Sneibe and Iveta Apkalna). Theprogramme will include pieces by variousEuropean composers, which are frequentlyperformed at the Riga Dome, and worksby Latvian composers, which are frequentlyperformed in Europe.What: Concert series.Where: Dome Cathedral, www.doms.lv.When: Second half of May.Concept authors: Guntars Prānis, musicaldirector of the Riga Dome, music@doms.lv;Silvija Zaķe, administrator of organ concertsat the Riga Dome, koncerti@doms.lv.Organisers: “Riga Dome Administration” Ltd.riga’s musical amberFor ages, amber has been a valuablematerial brought from the Baltic coastto European cities as far away as Rome.To this day, musical gems are born hereand then travel to European capitalsand cultural centres (Elīna Garanča– Vienna, Milan, London, New York;Mariss Jansons – Munich, Amsterdam;Andris Nelsons – Birmingham, London,Vienna, and others.)For many years now, the State Choir Latvijahas been the leading performer of largescalevocal works in the Baltic States. Thechoir and the “Sacred Music Festival” havebrought to Riga such renowned figures asSir John Tavener, Sofia Gubaidulyina, GijaKancheli, and Douglass Webster, amongothers. The 17 th International “Sacred MusicFestival” will focus attention more on BalticRegion cooperation partners and outstandingpersonalities and, by offering world premieresand performances of renowned WesternEuropean vocal pieces, introduce EuropeanCapital of Culture guests and Riga inhabitantsto the excellent performance skills ofcooperation partners from the Baltic States.WHAT: Concert series.WHEN: August 14 – September 9, 2014.WHERE: Latvian National Opera, St. Peter’sChurch, Riga Dome Cathedral, Great GuildConcert Hall.Concept authors: Māris Ošlejs, MārisSirmais.Organisers: State Choir Latvija.Cooperation partners:Latvian National Symphony Orchestra,www.lnso.lv;Estonian National Symphony Orchestra,www.erso.ee;Estonian Concert Association, www.concert.ee;Lithuanian State Symphony Orchestra,www.lvso.lt;Camerata Klaipeda was formed by theworld renowned virtuoso violinist VilhelmasČepinskis. This string orchestra brings togethermusicians who have performed withmany world-class orchestras, such as theEuropean Union Symphony Orchestra, inLondon, and the Gustav Mahler Orchestra,in Vienna. Camerata Klaipeda also featuresmusicians from Gidon Kremer’s famousensemble Kremerata Baltica.amber fantasyWhat kind of cinema is relevant in theterritories of the ancient Amber Route?This question will be answered by the“Fantasy Film Festival”.In 2014, the festival will collaborate withseveral important European film festivals inorder to study what kind of fantasy voyagesare glimpsed by today’s filmmakers andviewers in Europe’s Northern-Southernaxis. A particular partner is the largest fantasyfilm festival in Scandinavia: the LundFantasy Festival. A special film screeningwill be organized, along with guest lecturesand seminars, which will analyze thethemes that are essential to filmmakers inthe region.What: Film screening, guest lectures,seminars.Where: Riga and European cities.When: March.Concept author: Sonora Broka.Organizer: Arsenāls Film Forum.Cooperation partners: Film festivalorganizers in other European countries.114 115

116european dimension

During the creation of Riga’s application, Latvia is celebratingthe 5 th anniversary since the largest expansion of theEuropean Union to date. In 2014, it will be a round anniversary– 10 years, which Latvia will celebrate with the EuropeanCapital of Culture project. An additional benefit to the accentuationof the European perpendicular in public perceptionis Latvia’s anticipated presidency of the European Union in2015. Culture, in this context will have a doubly importantrole – as a messenger of public diplomacy, focusing attentionon the vector of the European unified values before thearrival of matters on the political agenda onto the stage, andoutlining the significance of each country, each person inthe development of the European dimension.It is currently estimated that in 2012 the single European currency,the Euro will be put into circulation in Latvia, with inhabitants makinga full transformation to a unified European currency for the settlementof their accounts. The introduction of the Euro into circulationwill be more than just a technical activity. It will be linked tothe way of thinking of people, with a more direct awareness of theEuropean single market and a more direct practical and also mentalcontact with the European Union. This is another argument determinedby circumstances, which envisages an important role forculture, explaining the changes in the lives of each person associatedwith Europe, through the prism of cultural events. During thistime the eyes of the inhabitants of the entire country will be moreintensely turned towards Riga, where the major national institutionsare located, and therefore the preparation time for the Rigaas European Capital of Culture project is a particular challenge,so that, using the potential of culture, a better understanding andsense of the advantages of a unified Europe can be achievedduring this psychologically sensitive time for society.This outlook of the near future not only makes us think about theopportunities of a unified market, but also remember the plusesand minuses that previous eras have meant to our ancestors regardingmarket relations with other European countries. One ofthe first Baltic ‘businesses’ or ‘gold currents’ that allowed for thedevelopment of culture and the achievement of a higher standardof living was trading with amber. And thus within the context of2014, Riga will look to the ancient amber route, creating a newcooperation network and looking for today’s cultural ‘currency’within it. Thereby, in the historically tested paths of Europe we createimpulses for new cooperation content.In the context of a common Europe, however, the terms ‘old’ and‘new’ Europe implemented in his time by Donald Rumsfeld, theformer US Secretary of Defence, tend to dominate. Admittedly,since 2001 no new descriptions have arisen for the countries thathave now confirmed their status as full-fledged members of a unifiedEurope after 5 years within it. This division of ‘the new’ and‘the old’ Europe continues to live in the consciousness of peopleand continues the discussion in society about the divisional linesin Europe. Riga also perceives the search for new terms to describevarious groups of European countries as its task on its wayto the year of the European Capital of Culture project.One of the basic objectives of the European Capital of Cultureproject is the internal integration of Europe, exchange of experience,knowledge and different cultural experiences. It wouldappear that ‘good old’ Europe (that in politics is called ‘Europewhole and free’) has to incorporate an openness perspectivein relationships with the remaining cultural world. The EuropeanCapital of Culture project allows us to realise how small Europeis, to what extent each nation within it is a relative and neighbourto the rest, and, on the other hand, confirms that by retaining ouroriginality, we can be interesting both to each other, and to othersin the world.Europe is united in its diversity. The countries forced to live behindthe ‘Iron Curtain’ were isolated. As we know, traditions anddifferences in languages and accents often survive in a certain,enclosed territory and also, for example, in Latvia, many traditionshave survived that are typical only to us or that have been typicalto many European nations, but that have now died out. It wouldappear that in this regard the isolationism defect can be transformedinto an effect, and traditions, different skills and knowledgecan be presented in a contemporary and surprising way,and as an opportunity for the European to experience somethingnew or long forgotten.The experience of renewed independence of almost 20 years allowsus to position ourselves as partners of equal value in Europe,who might not always have such long institutional experience invarious respects, but do, however, have ideas to offer. This is confirmedby successful cooperation initiatives already begun.cooperation aspect in project implementationIn establishing cooperation on a European scale, Riga will offer anew cooperation network initiative “New Amber Route”, developthe existing cultural cooperation networks, as well as creating newconnections through projects supported by European Funds.Thereby, the scope of Riga’s European dimension in terms of acooperation network is as follows:1 Cooperation network “New Amber Route” initiated by Riga;2 Participation in cooperation networks;3 Participation in European projects;4 The hosting of large European forums in Riga;5 Riga’s partnership towns;6 Culture in motion – artist mobility and cooperation betweencultural institutions.1 New amber routeWithin the framework of Riga’s candidacy we propose a newcooperation network initiative, with which to strengthen the understandingof Europe’s common values and Riga’s contributionto the communication of citizens across the borders. Riga andLatvia’s territory in general has for many centuries been a territorialpoint of intersection for the flow of people, ideologies, goodsand services not only, as is usually said, between the West and theEast, but also between Northern and Southern Europe. This is thehistorical Amber Route that has to become the new Amber route.Currently, the Northern dimension has been developed in theEuropean Union, as well as cooperation between Baltic SeaStates, within the framework of the Council of the Baltic SeaStates, the first real drafts marked out for cooperation betweenthe Baltic States and Black Sea States within the frameworkof cross-border cooperation, and in the Southern part –Mediterranean cooperation networks. Culture has also beenallocated its niche within this cooperation network. However,the Task Group for Riga’s candidacy is convinced that the newAmber route cooperation developed within the context of the2014 European Capital of Culture could serve as a wonderfulmeans of achieving new inspiration for the synergy of cultureand other sectors in the cooperation of Northern and SouthernEuropean countries and cities, transgressing the borders traditionallycalled Europe. In addition, as on the ancient route, so ourroute of today has two directions:• From the basin of the Latvian Baltic Sea through Lithuania,Poland, Germany, Austria, Italy, the Mediterranean basin;• From Latvia along the River Daugava, the Dnieper right up tothe basin of the Black Sea, Greece, Turkey and even further to theEast, to India.Our selection alone confirms that Europe has not only its historictrading routes but also routes entwined with secrets on the map,which today still captivate the minds of people and whose contemporarycontribution could be, as the economists would say,competitive on the circuit of global culture today.The “New Amber Route” does not envisage just an amber theme.Its main essence is to create a new contribution in the communicationof people and culture within the specified geographicaxis, through the prism of culture activating cooperation projectsin entrepreneurship, environmental and climate-change issues,in science and medicine, and a citizens’ dimension. This cooperationnetwork could be called an expedition, which must revealthe secrets of today’s amber route. This expedition with new culturalcontacts has to create the cultural ‘currency’ of today – highquality cooperation projects, which are characterised by excellence,and the ability to captivate the minds of many people, improvingthe quality of life.2 Participation in cooperation networksThe city of Riga is an active member of various European andglobal city cooperation networks, including in the field of culture.“Cities On The Edge”Riga plans to be included in the “Cities On The Edge” cooperationnetwork, which includes cities such as Marseilles, Napoli, Istanbul,Liverpool, Gdansk and Bremen. Aware of the overall problems thatare typical of harbour cities, for the development of post-industrialterritories and for a multicultural society (in Riga’s case, a bilingualone), it is hoped to develop a chain of interdisciplinary events ofvarious formats in Riga, which would mark out the interaction ofculture, urban development and the social aspect.A biennial of interdisciplinary contemporary culture that would markout a regular artistic event whose focus would be the city. The biennialswould take place on various territories of the city, focusing attentiononto the city suburbs, integrating local inhabitants, developingthe infrastructure of peripheries, promoting the decentralisationof culture and offering visitors a thrilling psycho-geographicaljourney along the lesser known territories of the city. The biennialswould introduce a string of events that would mark out the interactionof urban culture and art (seminars, conferences, exhibitions,artist residences and creative workshops).A body of interdisciplinary educational events that are geared towardsan increase of professional capacity, as well as the educationof a broad section of society. It is hoped to create an internationalart critic and art curator study programme that would fill thecurrently empty educational niche and promote the preparationof competitive specialists that could raise the quality of the sectorand promote integration into the international cultural space. It isalso hoped to organise a regular cycle of lectures and discussionsabout art, culture and interdisciplinary themes, to which all118 119

interested parties would be invited. Audience participation, engagementin talks and discussions about the theme under reviewand current events would be encouraged within the events.In the EUROCITIES cultural forum, where issues regarding theEuropean Capitals of Culture are in focus, the city of Riga leadsone of the four forum sub-groups with the title “Cultural Accessand Entitlement”. The group has representatives from Dublin,Krakow, Berlin, Vilnius, Leipzig, Goteborg, Warsaw, Lublin, Bergen,Nottingham, Birmingham, Geneva, Malmo, Edinburgh, Turku,Antwerp, Prague, Bordeaux, Dortmund, Helsinki and Tallinn.Riga is an active informal cultural network partner of the Parisinitiated European “White Nights”, together with Rome, Brussels,Madrid, Bucharest and Valletta. In autumn 2009, within the frameworkof the Riga “White Nights” programme, reacting to the currentsocial and economic situation, a pilot project for the conceptof Riga ECC 2014 project Force Majeure will take place. The aim ofthe “White Nights” cooperation network is to activate the participationof inhabitants in contemporary art activities and to promotean understanding of contemporary art in society.3 European projectsIn latter years, especially following the accession of Latvia to theEuropean Union, Riga’s involvement in projects co-financed byEuropean Union funds has been activated.“Creative Metropolis” project: public policy and tools forthe support of creative industriesThe city of Riga is the initiator for the project “Creative Metropolis:public policy and tools for the support of creative industry”, whichhas united 11 European cities – Riga, Helsinki, Oslo, Tallinn,Vilnius, Stockholm, Warsaw, Birmingham, Amsterdam, Barcelonaand Berlin. The main task of the “Creative Metropolis” project isfor the local governments of cities to create an effective long-termsupport policy for the creative industry sector and, at events forknowledge exchange, to learn the most successful tools for supportin promoting a creative economy.In the course of three years, 11 cities will implement a string ofscientific and experience exchange events for the achievement ofgoals. The cities involved in the project have a very varied amountof experience in the area of supporting creative industries – somecities demonstrate notable achievements and have developedtargeted strategies, for example Amsterdam, Barcelona andBirmingham, while others have only initiated talks in the last yearabout the significance of creative industries.Project implementation is envisaged over a period of three years –from October 2008 to September 2011, and 2.44M EUR has beenawarded for implementation from the “Interreg” programme financedby the European Commission. The implementation of the“Creative Metropolis” project also coincides with the EuropeanYear of Creativity and Innovation, whose aim is to promotesociety’s understanding about the importance of creativity andinnovation for personal, social and economic growth.“Music for everyone”, Riga, Tallinn, HelsinkiRiga is the initiator for the project “Music for everyone” supportedby “Interreg” IV A, whose aim is to promote the teaching of musicto handicapped children. The methods developed as a resultof the project will be summarised in a handbook that will helpother music schools and educational establishments to involvethese children in a full value process of learning music. It is alsoplanned to arrange a children’s camp in which children from differentEuropean countries will play music together.4 The hosting of large European forums in RigaThe city of Riga supports and organises representation and activeparticipation in the most significant international cultural events– art exhibitions, festivals, forums, annual markets and competitions.The organisation of significant international cultural eventsin the city of Riga is purposefully supported. In the preparationperiod for the European Capital of Culture year, the city of Riga willcontinue to support long-term and regular cooperation with thecultural institutions and professional cooperation partners of variouscountries and regions, to ensure the creation of high-qualitycultural products for the ECC programme in 2014. One of the possiblecooperation projects is the World Choir Olympics that couldtake place in Riga. Riga City Council and the Latvian Ministry ofCulture have officially confirmed their readiness to organise thisevent in Riga in 2014 to the World Choir Olympics organisationalcommittee.5 Friendship townsRiga has 29 friendship towns worldwide, and support for thecandidacy of Riga has been expressed by all the active cooperationpartnership towns, confirming the wish to cooperate in specificprojects. Similarly, Riga has received support from all citiesthat operate in the Riga-led working group in the cultural forumEUROCITIES.6 Culture in motion – artist mobility and cooperationbetween cultural institutionsThe cooperation principles of Latvian and European cultural institutionsare formed by general human and European values, aswell as national interests in the cultural sector. Based on these,international cooperation links are maintained both at internationallevel and between local governments and non-governmentalorganisations, as well as between private companies andcorporations.In the “Festival Mobility Project” partners from participatingcities in the international cooperation network “Baltic Metropolis”:Riga, Helsinki, Tallinn, Vilnius and Warsaw, will work together toimprove the creative and organisational field of festivals. The aimis to create a festival cooperation network, promote the internationalcooperation of various festivals, to support the internationalmovement of artists and producers and to improve the combinedunderstanding and knowledge of festival organisation.120 121

cooperationwith sweden 2014Nanophotography of Dust | Ēriks Božis122

‘good old swedish times’The cooperation of Riga and Latvia with Sweden is often characterisedby the phrase inherited from generation to generation ‘thegood old Swedish times’. It might appear surprising that since thebeginning of the 17 th century, when the so-called ‘Swedish times’historically began in Riga and in the territory of today’s Vidzeme,people still remember these times. During its existence, an erathat began as the conquest of a territory was characterised byprogress in many sectors, promoting the welfare and self-confidenceof the farming classes.The facts speak for themselves: the first schools for country folkwere opened during the ‘Swedish times’, and together with that theword ‘school’ has entered the Latvian language from the Swedishlanguage. A large investment into education was the founding ofTartu (Tērbata) University in 1632. Tartu was the first university inthe Baltics and became the educational centre of its time, wheremany distinguished Latvian cultural workers also studied. The opportunityof education was definitive in the further processes ofself-determination and development of self-confidence of countrypeople, that later led to the processes of national awakening in themid-19 th century. The fact that Riga was once the capital city ofSweden will always remain in the nation’s consciousness.Below are some facts that are linked to the ‘Swedish times’ in Riga:1600–1629 Polish-Swedish War – a battle for control of the tradingroute in the Baltic Sea.1611 Sweden occupies Riga, led by King Gustav II Adolf.1621 A strong city fortification system is established – rampartheight 9–11m, 5 bastions are raised, a citadel enclosed by rampartsand bastions. The fortification system is in operation until1857. The old city wall that is gradually covered with houses,serves as the second line of defence (a section of wall can beseen today in John’s Courtyard). One of the main fortificationtowers, Powder Tower, or Sand Tower as it was known until theXVI century, has remained until today. During this period Riga’smunicipal authority decides to cobble all the streets the same –all farmers entering the city had to bring with them at least twogranite stones.1622 The first water-pipe is installed in Riga, the water being takenfrom the Daugava with the aid of a pump.1625 179 books are printed: 126 – in Latin, 48 – in German, 3 – inLatvian, 1 – in Swedish, 1 – in Finnish.1628 The King of Sweden, Gustav Adolf proclaims Riga the secondcapital city of Sweden.1638 German minister, Georgius Mancelius, compiles a German-Latvian dictionary, which is the first written Latvian lexiconcollection.1680 By order of Swedish King Karl XI the first periodical ispublished – the socio-political newspaper in German, RigischeNovellen.1685–1689 – Ernst Glück translates the entire Bible into Latvian.1690 Following a fire in St. Peter’s Church, Rupert Bindenschucreates a unique wooden steeple construction in Baroque style,as well as the church’s western façade with Baroque portals. Thechurch retains this appearance until 1941. Today the church’s appearancereflects that of the XVII century.1696 The house of timber merchant E. Dannenstern, on MārstaļuStreet 21, is built in Swedish baroque style. Travelling comediansperform their numbers in this house. 1700–1721 Great NorthernWar. Russia’s Tsar, Peter the Great forms a coalition with Denmarkand Saxony for joint battle for outlet in the Baltic Sea, the main opponent– Sweden. 1709–1710 Under the leadership of Count BorisSheremetjev Riga is enclosed by Russian military forces. 94 % ofinhabitants of Riga’s surroundings die in the plague epidemic, theplague spreads to the Russian army and the inhabitants of Riga.1710 Capitulation of Riga. Riga comes under the subordinationof Russia.1721 The Treaty of Nystad formally enforces the new borders ofRussia.The ‘Swedish times’ have left a legend in Riga about a love story.The Swedish Gate that can still be seen in the Old Town todaywas built at the end of the 17 th century, to link the inner city withthe houses and barracks built outside the wall. Similarly to othergates of Riga, they were opened upon sunrise, and closed at sunset.It is said that a girl from Riga had her eye on a young Swedishboy. Although maidens were strictly prohibited from meeting withsoldiers, the lovers secretly met by the gates. However, Rigainhabitants surprised the couple and were so angry that as punishmentthey walled the girl up at the scene of the crime. Theunhappy maiden’s whispers of “I love him!” are said to be heardat the Swedish Gate at midnight. In truth, it is only heard by peoplewho are able to love unconditionally.On celebrating 800 years of Riga, a jubilee coin was dedicatedto the “Swedish times”, which reflects Riga’s coat of arms froma coin forged at the time of the rule of Gustav II Adolf, as well asRiga’s fortification plan from the first half of the 17 th century.a contemporary tale of cooperation with swedenThe historical ‘Swedish foundations’ serve for the close cooperationof Riga and Swedish cities – from the political, financial andeconomic sector to science, the environmental field and web ofcontacts in the cultural sector. In accordance with informationfrom the Bank of Latvia, today Sweden is the second largest investorin Latvia. Quick-witted analysts, when talking about thisfact, call these the ‘new Swedish times’.A considerable contribution by Sweden to the educational developmentof Latvia and the Baltics is the establishment of theSchool of Economics in Riga and Riga Graduate School of Law.Various schools have cooperation with Swedish universities. Thepartner organisations of the Latvian Academy of Science arethe Swedish Royal Academy of Science and the Swedish RoyalAcademy of Humanitarian Sciences, History and Artefacts. TheNordic Centre of the Latvian Academy of Culture implements cooperationbetween Latvia, Sweden and other Northern countriesin the cultural sector, promoting Nordic studies and research inLatvia.Cooperation with Sweden in the cultural sector is very active. Asignificant event in 2008 was the participation of Latvia in the statusof main guest country at the Annual Book Fair in Goteborg inSeptember. The National Concert Agency Latvijas koncerti haslong-standing cooperation with Rikskonserter – the concert agencynetwork for Scandinavian-Baltic countries. The participationof the Latvian National Opera at the Dalhalla opera festival hasbecome a tradition. Other areas of cooperation: traditional art, archives,library sciences, museums, cultural education, monumentprotection. Latvia takes part in film and theatre festivals takingplace in Sweden.‘new swedish times’Cooperation of Riga with Lund and Umeå in the European Capitalof Culture project.During the preparation period of the application, Riga’s taskgroup has met with representatives from Lund and Umeå, agreeingon the main directions for city cooperation under the 2014European Capital of Culture. The cities have agreed that regardlessof which city obtains the honour of organising ECC, the initiatedcontacts should be implemented at least in some of theindividual projects.riga and umeå1. Riga and Umeå are proud of their indigenous inhabitants, theLivs and the Sami people, two nations that belong to the groupof Finno-Ugric languages. Over 800 years ago Riga was foundedon the site of the Liv settlement, but today in Riga there is still acommunity of Livs, even though they are maybe just a few dozen,that have united in the Riga Union of Livs and are actively involvedin the project development with Umeå. In turn, Umeå is proudof its Sami heritage and the contemporary contribution of Samitraditions by Sami inhabitants of the city. Riga and Umeå haveagreed as follows:• By 2014 to initiate a Sami and Liv 3 generation exchangeprogramme within the framework of family summer camps. Eachyear on the Liv coast at Mazirbe, a Liv family camp takes place fora week, where skills in the Liv language, songs and traditions arelearned in a relaxed atmosphere, which traditionally closes withthe Liv festival in the first weekend in August. The festival has alsobeen attended by the heads of countries of Latvia, Estonia andFinland. The friendship of Liv and Sami families at such camps inLatvia and Sweden would allow the Finno-Ugric traditions to liveon in the new generations and promote opportunities for longlastingcontact between people on both sides.• The young adults’ section of the Liv union is well known for itsmusicality, playing music both in a traditional style and in variousmodern genres of music. Similarly, there are talented young Samiadults in Umeå who perform contemporary Finno-Ugric music.Both sides are interested in the creation of a Sami and Liv musicproject for young adults.• Sami and Liv Day in Brussels: a jointly organised project dedicatedto the significance of small nations and languages in thediversity of European culture.• An international conference for the rights of indigenous people.Each autumn in Sweden the international Human Rights Daystake place, and the Sami Society in Sweden has begun to developan idea together with the UN about the organisation of suchan international event in Umeå in 2014, with the Livs as one of theguests of honour.• Traditional Sami and Liv cuisine – in the sense of ‘high art’.Cooperation with the “Slow-food Latvia” movement, representativesof the union and restaurants in both cities.• A modern Sami and Liv design cooperation project “Etnofutu”.The potential cooperation partner on the Latvian side is the DesignSection of the Latvian Academy of Art.124 125

2. Although Riga and Umeå are separated by the expanse ofthe sea, as 2014 approaches, both cities have agreed to builda bridge uniting the cities. This bridge will create the feeling of ahandshake between the inhabitants, will invite people to visit arefined concert in the other city in their slippers or play hockey,without putting their skates on. Riga and Umeå will build a virtualbridge “Digital Mirrors” using the on-line opportunities offered bythe newest technology of ‘two screen discussions’. Thus, throughscreens somewhere in Riga and Umeå, people will be able tomake direct contact with one another. Some of the ideas for“Digital Mirrors”:• song ‘wars’ between choirs in Riga and Umeå;• broadcast from the Latvian National Opera or other Riga 2014festive events, to Umeå and vice versa;• ‘Greetings of light’ marathon by people during the Festival ofLight in both cities;• projects “Riga Sings a Lullaby To Umeå”, a game for hockeyfans “Let’s play hockey!” and others.3. There is great interest in cooperation between the “Festivalsof Light” in Riga and Umeå. These are joyous and widely attendedfestivals in both cities, taking into account the nuances of climaticzones and dark winter time. The “Festival of Light” takes place inNovember, both in Riga and Umea. During that time the followingis planned:• an exchange of lanterns made by children;• an exchange of the most striking light projects developed bystudents;• on-line exchange with multi-media projects during the festival.4. Riga’s Central Library with its 40 branches and Umeå Libraryare very popular among the inhabitants, working in a contemporarymanner and involving various social groups. Both sideshave expressed an interest about cooperation in connection with2014. Riga’s Central Library is ready to prepare a broad exhibitionabout the connections of Riga and Sweden through the centuries.Umeå Library is ready to provide its knowledge and experience inthe newest technology, providing library services to handicappedpeople. Similarly, interest has been expressed about involving thecity readers in joint discussion forums on the library internet sites,as well as about an internet video proposition from jointly organisedevents.5. Potential cooperation projects with Umeå VästerbottensMuseum:• an exhibition for children about freedom and war (in the aspectof the theme of 100 years since the 1 st World War);• an exhibition by Riga’s photographer, Inta Ruka, about thepeople of Riga.riga and lundRiga and Lund are the No.1 choir cities in their countries. Everycouple of years Riga hosts the youth and adult Song and DanceCelebrations, that unite up to 40 000 amateur participants.Prestigious Swedish national-level choir competitions take placein Lund. The fold of Lund choirs is also enlarged by the SouthernSweden Latvian choir, because most of the exiled Latvians inSweden live in this particular part of the country. Expanded cooperationof the choirs in both cities is planned within the aspectof the European dimension:This is the participation of choirs from Lund and Riga at Europeanlevel Song festivals – in the creative work forum in the area of choralmusic “Music Inspiration Landscape”. Similarly, the best choirfrom Lund will be invited to the World Choir Olympics 2014 in Riga(2012 is the year of approval for Riga’s candidacy).2. Lund’s scientific centres have good cooperation with theInstitute of Solid State Physics in Latvia. Several artists in Rigahave developed good cooperation with the physics institute, creatingoriginal art projects, for example, dust enterprises with thehelp of nanotechnology, making people look differently at the environmentaround them and to see it with its surprising structureand atmosphere.project “science & arts & fiction”• The cities have agreed to form further cooperation of scientistsand artists and to promote project exchanges. Gints Gabrāns,Voldemārs Johansons, Ēriks Božis are some of the Latvian artiststhat have already proved themselves in this area.• Cooperation of Riga and Lund science fiction film festivals inthis aspect.3. Lund has expressed its wish to cooperate with Riga in the traditionalcuisine presentation in the form of ‘high art’ within theframework of the 2014 project. The “Slow-food Latvia” associationis ready to be involved with its idea propositions in this projectwhich means:• exchange between chefs of both cities and the teams of thebest culinary students, with the idea that in 2014 and after, restaurantmenus in the other city will offer either a Latvian or Swedishtraditional dish in the sense of ‘high art’;• garden festivals organised within the framework of exchange,for those inhabitants of both cities who can be considered‘honourable’ from an age aspect, and who have probably neverdreamt that their birthdays might be celebrated by the wholecity.4. Contemporary revelations in the consciousness of societyabout historical cooperation links. Taking into account that historicalfacts are not widely known, particularly amongst youngpeople in Lund, the project with Riga “Good old Swedish times”could serve as a revelation to many representatives of society:• Riga’s mobile exhibition about Riga-Sweden connections;• cooperation of Riga and Lund school orchestras in the jointmusical project “Swedish Times”;• this project also allows for the incorporation of the commonpaths in the aspect of the Amber route: in 2014 it is planned toopen an Archaeology Museum in Lund, in which the involvementof both cities in the ancient Amber route could be on the agenda,as well as cooperation projects of Riga’s “New Amber Route”.5. In Riga and Latvia overall there are highly developed amateurart movement principles, as well as a national support systemfor the amateur movement. Riga and Lund have considered theexchange of experience in this area:• In both cities annual night-time events take place for promotingcultural activities – in Lund this is the “Night of Culture” – a24 hour marathon of amateur art events, in turn in Riga this isthe contemporary art event “White Nights”, which is included inthe Paris initiated “White Nights” festival network. Riga and Lundwill promote direct contacts with citizens through the exchangeof representatives from the amateur movement and non-governmentalorganisations.6. The so-called ‘brain drain’ is a social phenomenon, encounterednot just by the new European countries but the Europeancontinent as a whole. Riga and Lund plan to work together onthe project “Brain Drain Gain”, emphasising the need to forma city that is attractive to the inhabitant, create ways to drawthe minds of departed city dwellers to the city, both in an indirectmanner and through the manner of ‘guest shows’ and‘homecoming’:• Riga and Lund are planning joint seminars. Riga will share itsexperience about its initiative in the European project “CreativeCapital Cities”, with the aim of creating an effective long-term supportpolicy in the creative industry sector.7. In the event of their candidacies being approved, Riga andLund have agreed on joint activities in their marketing programmes.The cities have considered plans to develop a team practice andexperience exchange programme for both cities, with membersfrom each team gaining work experience in the other city. Thecities have considered the creation of a voluntary programme inassociation with EVS (European Voluntary Service).126 127

128city and its citizens

The category “City And Its Citizens” in Riga’s applicationis connected with a Latvian cultural project designed toinduce Riga’s inhabitants to assume an active role in raisingtheir quality of life, and with an ongoing campaign toraise people’s environmental awareness. This involves therecruitment of volunteers at schools and higher educationinstitutions, as well as the establishment of contacts withvarious interest groups, both in Latvia and in Europe as awhole.collectively raising people’s sense of responsibility• In this day and age, there are increasingly fewer issues thatpeople can resolve individually and increasingly more opportunitiesthat people can be seized best when people work together.Riga’s ECC concept places special emphasis both on individualliberty and creativity, which empowers people, and on the conceptof cooperation, to seek collective solutions in a creative environment.Collective solutions are the result of global developmenttendencies, in which individuals, municipalities, countriesand society as a whole cannot be viewed apart from the numerousprocesses occurring in the world today. Riga’s ECC conceptforesees collective action in the application of solutions – throughcreativity and the expansion of new frontiers by using new formsof interaction.• Besides serving as an important foundation of Riga as aneventual European Capital of Culture, collective creativity is partof the city’s development vision, which foresees the breaking ofsocial, territorial, and other barriers, as well as the collective resolutionof assigned tasks. Riga must base itself upon ideas that aresound and socially accepted in Latvia, Europe and the world atlarge; otherwise it will find itself at odds with its goal of achievinglong-term, sustainable development.• There are many spheres in Riga, where creative minds canunfold, as long as these minds are conscious of the need for collectivesolutions – in promoting synergy between cities and theirsurrounding regions, polycentric development, the establishmentof new enterprises, marketing improvements, alternative energyresources, environmental and IT technologies, the competitivenessof universities and the use of new infrastructure objects.• Individualism can be seen as a resource in the creation of collectivesolutions and in the promotion of shared responsibility.The city itself is the direct result of the creative process of collectiveparticipation. For this reason, one of the most important keywords right now is mutual cooperation – at the individual, municipal,and international levels.involving the city’s inhabitantsRiga’s draft programme for 2014 foresees various means forproviding the city’s inhabitants with cultural ‘fishing rods’, whichwill permit them to choose which programme events to profitfrom and which will enrich them in the long-term with new skills,experience, contacts and the means to improve their lives.Through various attractive projects, the public will be invited to:• obtain new skills and knowledge (for example, long-forgottenpractical skills and knowledge useful for surviving in the current,modern times);• try various new things for the first time (for example, singing,dancing and visiting those parts of Riga that they have never seenbefore);• take part in joint art events together with professional artists(such as the “Cultural Cleanup” (Kultūras talka) art installation, aswell the involvement of ‘street children’ in the holding of the mainconcert)• improve the environment at their places of residence (spruceup their balconies and courtyards) and practice a healthy lifestyle(for example, by participating in the “Run For Freedom”)• establish new contacts through regional community projects,interest projects and ECC communications projects.In order to promote the participation of artists, of people who workin the social and cultural spheres, as well as the inhabitants ofRiga, its surroundings and other regions, a great deal of attentionwill be paid to creating a viable “Mobile Centre”, which will bestationed in Riga’s neighbouring territories by 2014. As we alreadymentioned in the “Mobile Centre” section of our application, culturalworkers will conduct a study and question the inhabitants ofRiga’s so-called ‘sleeping suburbs’ (residential neighbourhoodsat the outskirts Riga) about the cultural events that they would liketo see in their neighbourhood. They will also recruit volunteers towork in the “Mobile Centre”. One of Riga’s ECC goals is to ensurethat such ‘Mobile Centres’ become a long-term initiative thatraises people’s awareness and that provides them with the confidenceto set up their own activities and cultural events. This goalcorresponds to Riga’s strategic, long-term planning documents.The involvement of neighbourhood schools will also be an importantfacet of the “Mobile Centre” project. From the very firstgrades, schoolchildren will develop a more firmly rooted identitywith their neighbourhood and learn how to make their lives moreattractive and interesting. Youth will acquire a greater understandingabout the essence of democracy and about such values ascivic responsibility, cooperation, respect for fellow individuals,one’s home, one’s school, one’s community, not to mention helpfulnessand kindness. Riga’s ECC task group is convinced thatby promoting people’s access to culture in their neighbourhoods,people will be much more inclined to organize other communityinitiatives on their own, such as environmental cleanups, the moreeffective use of various public resources, charity projects, etc.In this context, one should mention the positive precedents thathave, in a sense, already launched this process. In cooperationwith the British Council’s “City Game,” the Riga City Council hasinitiated a number of discussions this year, with the involvement ofall relevant social ‘actors’. For example, public discussions have alreadytaken place concerning the possible functions of a multifunctionalcultural centre that is being built in Riga’s Latgale District andthat is to be completed in two year’s time, as well as concerning thefuture appearance of the neighbourhood around the centre.Riga’s ECC task group also plans to involve schools and higher educationinstitutions in setting up the ECC events, thus providing additionalopportunities for internships and voluntary work. This wouldbe especially significant for those schoolchildren and students whowill graduate from secondary school or university in 2014. Theywould thus enter the job market with a greater understanding aboutthe role of culture and its processes, and would be able to includethis new, practical experience in their CVs.Members of the general public will also be recruited to work asvolunteers during Riga’s ECC events. A certain tradition of volunteerwork already exists in Latvia, and it was successfully put intopractice once again in 2008, during the Latvia’s legendary Songand Dance Celebration, where thousands of enthusiastic schoolchildren,students and regular members of the public volunteeredtheir services to ensure that the events run smoothly. Some individualenterprises also financed the dispatch of special workcrews as an additional contribution to the running of the festival.capturing the interest of other europeansoutside of latviaThe European Commission Representation in Latvia has officiallyannounced its readiness to cooperate in the realisation ofa number of ECC projects, together with local partners, if Riga isconfirmed as a European Capital of Culture. The European Union’sInformation Centre in Riga has also expressed a similar interest.This would be particularly important in the planning of joint eventsin 2014 for Europe’s inhabitants in connection with the 10th anniversaryof the accession of Latvia and its neighbours to the EU.The “Amber Vein” section attests to the European dimension ofRiga’s application. It refers to the symbolic revival of the ancientAmber Route as part of Europe’s North-South dimension, throughjoint initiatives between Riga and a number of other European cities.This also incorporates the citizens’ dimension, with referenceto the promotion of direct contacts and cooperation, the provisionof information and to the holding of public events in the ECCcontext.Plans are also being made, in cooperation with the city of Umeåin Sweden, for inhabitants of Riga and Umeå to hold direct dailycontacts, using the latest technologies to broadcast live conversations,participation in joint ECC events, etc. This project couldbe developed as a joint ‘speaking instrument’ between Riga andUmeå, and other European cities.the talka – a voluntary cleanup operationthat has brought added value to riga and latviaTalka is a Latvian word that denotes the notion of people voluntarilycoming together to clean up or otherwise improve their environment.The latest talka, or cleanup movement, took off in Latvia in2008 and has progressed on a geometric scale since then. Manypeople now see the talka as a vital necessity, as a manifestationof their wish to improve their lives and as an expression of theirhope for the Latvia’s continued, long-term development. We arereferring to an environmental consciousness and culture, whichoccupies a significant place in Riga’s ECC concept.The first “Great Talka” was held in September of 2008, in honourof the 90th anniversary of Latvia’s independence. About 50,000volunteers spent the day picking up litter and otherwise cleaningup their surrounding environment. They amassed about 13,000tonnes of domestic waste from the country’s forests and parks.Half a year later, in the spring of 2009, Latvia initiated an evenbroader cleanup movement in the Baltic Sea region. Cleanupoperations were simultaneously held Lithuania, Estonia, Polandand the Russian city of Saint Petersburg, with varying degrees ofactivity among these places. In Latvia, about 110,000 volunteersspent the day cleaning up their neighbourhoods all across thecountry. Their activities were organized by more than 800 coordinators,and this does not include the numerous people who participatedindividually.One of the most outstanding features of the talka is that all ofthis cleanup work was entirely voluntary. Unfortunately, the largeamount of litter and garbage that was collected indicates that130 131

even today, nearly 20 years after regaining its independence,Latvia and its capital city still have their share of Soviet-era ‘scars’:abandoned factory sites, industrial waste, and a polluted environmentthat still continues to be an eyesore in a number of places.This is due, in part, to continued careless attitudes and to the lackof a sense of responsibility by a number of people for the environmentaround them.This year, the organizers of the “Great Talka” of 2009 came upwith a very ambitious goal – to continue such voluntary cleanupoperations for at least the next ten years, so that by the 100 th anniversaryof Latvia’s Declaration of Independence in 2018, Latviawill officially have become the ‘Cleanest Country in the World’.While this may seem like a very grand plan, Latvia is a relativelysmall country. And while Latvia may not be the richest country inthe world, one of its greatest assets may one day lie in its pristinenature and tidy city streets.The cleaner our neighbouring countries become, the cleanerwe will also want to be. This applies to every country in Europe,which is why such talka events should be implemented at thewider, European level. We hope that Latvia’s talka movement willhelp to bring Europe’s people closer together in their joint workfor a cleaner environment. We also hope that our neighbouringcountries, as well as the rest of Europe and the rest of the world,will seek to follow our example and take part in a friendly competitionto hold the title of ‘Cleanest Country in the World’.The talka as a collective event, has its roots in ancient ethnographictraditions, which may be why it gained such immediateand massive acceptance in Latvian society. Traditionally, talkaparticipants sang while they worked and then celebrated the workthat they had done. While the times have since changed greatlysince those bygone days, the essence remains the same. Natureis an asset that will never belong to any one person.to bring along a stone or boulder, in order to construct a joint artinstallation – a spiritual symbol that will testify to the aspirationsof the people of Riga, of Latvia and of other countries, for thesoundness of their souls, environment, cities and countries. Theidea for this installation stems Riga’s past history. During the firsthalf of the 17 th century, Riga’s administrators decided that all ofthe city’s streets should be laid with cobblestones in a uniformmanner. Thus, every peasant who visited the city had to bringalong at least two stones from the countryside for covering Riga’sstreets as an ‘entry fee’ or ‘tax.’ However, this time, the bringing ofstones for the construction of Riga’s ECC art installation will be avoluntary affair, in line with Latvian talka traditions.After helping to build the art installation, Riga’s talka participantswill gather at Riga’s Mežaparks open-air stage, in order to celebratea job well done by singing collectively. This stage was recentlyrebuilt and can host more than 100,000 performers andspectators. There, the participants will take part in the culminationof the “Culture Talka” – the 1 st General Song Celebration forSpectators – a massive event in which the public will sing-alongwith various choirs. As we have already mentioned, for the past135 years, each of Latvia’s song celebrations has traditionallybeen attended by about 100,000 people, despite the various regimechanges that the country has experienced, and this songfestival tradition has become one of Latvia’s most potent nationalidentity symbols.Latvia’s National Television would also be involved in broadcastingthis event and has already expressed its readiness to cooperatewith Riga in preparing some of the potential ECC activitiesfor 2014. One idea is to hold a tele-conference at the Mežaparksopen-air stage with cleanup organizers in other European cities,where people can exchange their impressions about their cleanupday at work and its positive results.the great talka or great voluntary cleanup operationwill also become a culture talkaThe organizers of this year’s “Great Talka” have agreed to cooperatewith Riga’s ECC task group in 2014. Riga’s application workgroup has held discussions with Vita Jaunzeme, an organizer ofthe “Great Talka”, on holding a “Culture Talka”, which could closethe environmental cleanup and refurbishment talka of 2014.The day after they finish planting trees, collecting litter, and conductingother tasks, each the cleanup’s participants will be invited132 133

134mobile centre

The “Mobile Centre” is Riga’s proposal for promoting andenhancing communication in 2014, serving as the messengerof the European Capital of Culture (ECC). Since the yearwill also mark the 10 th anniversary of Latvia’s accession tothe European Union, communication between Riga andother cities of Latvia and Europe will play a very importantrole in the Capital of Culture project, strengtheningEuropean values. Since Latvia is one of the easternmostcountries in the EU, the “Mobile Centre” as the messengerof the Riga project is vital to society psychologically,emphasizing the equal importance of the zone often consideredperipheral to the continuing development of theEuropean Union. The ‘Mobile Centres’ will create a spacewhere citizens of Riga, Latvia and Europe will find a forumto communicate the values important to their towns.The Riga project for 2014 envisages the decentralisation of culturalevents and the broad participation of the public in the EuropeanCapital of Culture programme not only in the environs of the capitalbut throughout Latvia and with a European dimension extendingto other EU countries.To more effectively attain these goals, small groups of messengersas well as larger ‘messenger units’ will spread the project’smessage through their visual design. These Capital of Culturemobile centre units will play a significant role beyond merely marketingthe project symbolically.the University, work-related travel and attendance at major events.The ‘Mobile Centres’ will bring other towns closer to Riga as anintegral aspect of the Capital of Culture project’s aim to embodyEuropean values, emphasising the cultural and historical links betweenRiga and other towns and offering visitors the opportunityto express their ideas, abilities and know-how.Riga has invited other towns in the region to follow the exampleof Sigulda and declare their readiness to participate in developingthe European Capital of Culture programme’s “MobileCentre.” Formal letters of agreement have been submitted byJūrmala, Daugavpils, Jelgava, Kuldīga, Dobele, Tukums, Limbaži,Staicele, Aloja, Salacgrīva, Balvi and Ventspils. Cēsis and Liepāja,also competing to become the European Capital of Culture, haveagreed in writing that they are prepared to cooperate in individualprojects if Riga is chosen as the ECC in 2014.At the European and Baltic Sea region levels, the focus will beon Sweden, Latvia’s ECC partner state in 2014, as well as on thetowns of the “New Amber Road”, a Riga initiative. The sayingpassed down since Swedish rule in the 17 th century – ‘the goodold Swedish era’ – will be the motto of an exhibit on wheels aboutthe current and historic ties between Riga and Sweden.The movement of the project from the centre of the city to theperiphery is the primary way in which Riga will inspire cooperationwithin the capital, the region, and throughout the country.Implementation of the “Mobile Centre” project in Riga’s outlyingdistricts will involve developing an expanded infrastructure,decentralising the city’s cultural facilities through development(the construction of a new cultural centre in the Latgale District,reconstruction of the philanthropist Augusts Dombrovskis’ early20 th century ‘palace of culture’ Ziemeļblāzma (“Northern Lights”)and the renovation of the historic district that surrounds it, andthe transformation of the Central Market’s warehouse area into a‘creative district’). The ‘Mobile Centres’ will have a long-term effecton urban development, serving as a platform for people-to-peoplecommunication and cultural activities as well as strengtheningneighbourhood identities.As a capital, Riga has intimate ties to other Latvian towns. In anage of rapid mobility, everyone in Latvia has developed a personalconnection to the capital – relatives, friends, children studying at136 137

mobile centre in riga’sneighbourhoodsTaking the concept that ‘the centre iswhere we are’, the project envisagesactivities in the centres of outlying localities,creating spaces that will serveas a platform for positive communication,cultural events and the strengtheningof local identities.The goal of the project is to build localawareness in different neighbourhoods,developing smaller local centres to deepenthe residents’ sense of belonging to theneighbourhood and thereby enhance theirsense of responsibility as citizens of thecity. Reaching this goal also requires a focuson the local architecture and developmentthat fosters a sense of place.This project consists of two parts: theoreticalstudy, and practical implementation– reclamation of existing urban environmentsand the construction of newinstallations, objects and pavilions in thereclaimed space.The project will be based on an analysisof city planning in Riga neighbourhoodsand the prospective development of newcentres. Selecting approximately 3–5 differentRiga neighbourhoods, brief portraitsencapsulating the social, geographical,historical, cultural, architectural and spatialcharacter of the individual neighbourhoodswill attempt to define the identity ofthe urban environments. The studies will investigatea variety of factors like the neighbourhoods’specific architectural histories,notable persons hailing from the area,the people who live in the neighbourhoodnow and those who lived there in the past,and local traditions. Residents will beasked to reveal their perceptions of theneighbourhood and what they most oftenassociate with it, spatially – the buildings,squares or parks that symbolize it – in aneffort to capture the spirit of place.The studies will compile the essential informationon the character and identity ofeach locality, including proposals for therelevant local government bodies and arearesidents’ recommendations to ensure sothat the identity of the locality is respectedand supplemented, rather than sweptaway in the course of development.Based on the results of the studies, concreteplans will be made for selected sites– pavilions will be built, existing spaces (forexample cultural and/or sports centres) willbe adapted for temporary use in the projector transformed, and public space such assquares, parks and promenades will be improvedand utilised as sites for installations.The project aims to promote the city’sdevelopment and new architecture, helpingRiga become more urban by contrastto the suburbanism of the Sovietera. Encouraging development, strongerneighbourhood identities, the transformationof specific localities, and inspiring residentsto positive change requires small,positive impulses. A spatial and institutionalframework for this sort of dialoguemust be created. Spatial intervention withthe necessary stimulus, whether temporarystructures (pavilions, installations) orthe transformation of existing structuresthrough ephemeral installations, will shiftthe local centres of gravity to change theresidents’ habitual daily routine, becomingepicentres of fresh urban scene.Such new and renewed places and spaceswould become new urban centres – gatheringspots and venues for discussion for theneighbourhoods’ residents. The pavilionsand the newly created spaces would firstof all be meeting-places where residentsof the immediate neighbourhood couldcome up with and carry out their own initiatives,such as preparing meals together,playing chess, and exchanging views ininterest groups. Since these spaces wouldalso be venues for urban games, seminarsorganised by NGOs and the City Council,conferences, lectures, dances, contemporarytheatre and films, they can serve asmagnets for mutual understanding and facilitateintercultural integration, welcomingboth Riga residents and visitors.What: Research of Riga’s urbanenvironments and use of the resultingstudy to implement ideas found therein indifferent neighbourhoods.Where: Riga’s neighbourhoods.When: Research conducted and compiled:2010–2012.riga’s key to fellowshipEvery city is surprisingly interesting inthe diversity of its culture. The “MobileCentre” will also travel to Riga’s sistercities in Europe and around theworld. One of the primary symbols ofRiga, used in its seal, is the key to thecity. Riga’s ‘diplomatic relations’ in2014 will also be symbolised by a key“Riga’s Key to Fellowship”.Many Riga residents probably don’t evenknow that Riga has 29 ‘sister cities’ –Aalborg (Denmark), Almaty (Kazakhstan),Amsterdam (The Netherlands), Astana(Kazakhstan), Bordeaux (France), Bremen(Germany), Dallas (USA), Florence (Italy),Calais (France), Cairns (Australia), Kyiv(Ukraine), Kobe (Japan), Moscow (Russia),Minsk (Belarus), Norrköping (Sweden),Beijing (China), Pori (Finland), Rostock(Germany), St. Petersburg (Russia),Santiago (Chile), Stockholm (Sweden),Suzhou (China), Taipei (Taiwan), TallinnProject development: 2013.Project implementation and exhibitions: 2014.Concept authors: Oskars Redbergs, ArtisZvirgzdiņš, Zanda Redberga(The Foundation for InterdisciplinaryCooperation “mT15”, www.mt15.lv), unIlze Martinsone (Latvian Museum ofArchitecture, www.archmuseum.lv).Project development: Architectural anddesign firms.Organisers: Riga City Council, Foundationfor Interdisciplinary Cooperation “mT15”Project implementation: Workshops,construction firms, Latvian Museum ofArchitecturePartners: In the research phase – theFoundation for Interdisciplinary Cooperation“mT15”, students of city planning at Latvianand foreign universities.(Estonia), Tartu (Estonia), Tashkent(Uzbekistan), Tbilisi (Georgia), Warsaw(Poland), and Vilnius (Lithuania).The goal of “Riga’s Key to Fellowship” isto involve representatives from Riga’s ‘sistercities’ in a collective campaign, makingthe invitation a special one. In addition todrawing the attention of Riga’s ‘sister cities’to the events in the Latvian capital, thecampaign would show Riga’s residents thecultural diversity of their ‘sister cities’.All of the ‘sister cities’ will be invited to participatein an artistic project to create a keyto fellowship, simultaneously telling thestory of cooperation between their citiesand Riga. The keys will be exhibited at ajoint exhibition with presentations to showcasethe cultural diversity of each participatingcity.What: Exhibition.Where: City Hall.When: June.Concept author: Mārcis GulbisPartners: Riga City Council, Departmentof Culture, Riga City Council ForeignRelations Department.138 139

mobile centre in sigulda,riga’s official partner cityRiga and Sigulda were both first mentioned in historic texts aroundthe same time – more than eight centuries ago. Both towns werefounded on the sites of the autochthonous settlements of theFinno-Ugric Livonians. Like Riga, the hill forts of Sigulda and thecastles and fortifications that replaced them when it was a Livonianstronghold (medieval Livonia was named after the indigenousFinno-Ugric people by the conquering Germans) were later takenby diverse armed forces. Sigulda flourished in the late 19th centuryas a consequence of the construction of the Riga-Pskov roadand the Riga-Valka railway line. Grand Duke Kropotkin, the ownerof a great estate there, developed Sigulda as a resort, popularin the Russian Empire, where tourists could walk the so-called‘alpine paths’, visit the castle ruins and caves, and enjoy carriagerides or bobsled runs.The wooden buildings of Sigulda, built in the style of a Swissalpine resort, were partly destroyed in the First World War. Themanor of the estate was nationalised during the agrarian reformwhen Latvia became independent, becoming a guest house forthe Union of Writers and Journalists. During the Second WorldWar, Sigulda saw the destruction of its railway station, the bridgespanning the Gauja River, and the amphitheatre. In the Soviet period,development plans resulted in the growth of industry andconstruction of apartment blocks. It became a minor regional administrative,economic and cultural centre.The Sigulda area is still nicknamed the Switzerland of Vidzeme.Efforts to preserve the environment led to the creation of Latvia’sfirst national park in the area in the 1930s; its status was renewedas the Gauja National Park. The park covers 91,745 hectares andis listed as a specially protected territory by the European “Natura2000” programme, and as a sanctuary for birds by the EuropeanUnion. There are more than 500 cultural and historical places ofinterest within – hill forts, castles, churches, ancient estates, watermills,windmills, and other architectural, archaeological and artsites.The aerial cable car to Krimulda, opened in 1969, quickly becamea popular tourist attraction. The sledding complex, opened in1986, made Sigulda an international winter sports centre.An integral part of Sigulda’s renown is its Opera Festival. The celebrationof the town’s 800 th birthday in 2006 was testimony to thefact that Sigulda is a regional centre that can attract attention notonly in the area but throughout Latvia and among foreign visitors.An open air theatre festival and the concert hall known asthe “White Grand Piano” (Baltais flīģelis) play a role in the town’spopularity as a festival venue.The Sigulda region has two principal approaches with regard tothe 2014 project, taking into account its place in the history ofculture of this part of Europe:• producing an audit of the cultural and historical heritage thatupdates the centuries old ethical and aesthetic values of the regionin an international context;• using the skills and know-how, intertwined with local historyand the services Sigulda provides, in a manner that involves asmany local residents as possible.In preparing its proposal to participate in the Riga application tobe the European Capital of Culture in 2014, Sigulda has closelyfollowed the goals and themes of the Riga proposal.140 141

sigulda programmeever-living legendsRegional history is most colourfullyreflected in legends that have beenpassed down since ancient times.Sigulda is woven about with such legends,the folklore interwoven with historicalfact – the stories of the Rose ofTuraida, and the great Livonian chieftainslike Kaupo, whose complex rolein the introduction of Christianity tothe southern Baltic is still controversial.Since the 19 th century, Siguldaand the surrounding area have featuredin many ballads, poems, plays,films, postage stamps, operas, andeven modern dance performances.The continuing creation of new worksof art around these themes shows thatthe legendary figures live on in thepopular imagination.Some myths and geographically rooted legendsare perfect material for the stimulationof the modern creative imagination. In 2014,17 local amateur collectives will seek to revivethe legends by working with professionalchoreographers, scenographers, composersand theatre directors. The residentsof Sigulda and the surrounding area will beinvolved in major professional musical productions,bringing local mythology alive.The story of the Rose of Turaida is the legendof the devoted and courageous girlMaija Greifa, who lived at Turaida in the17 th century. Though tragic, the beautifullove story is alive in the Latvian imagination;couples still leave flowers and lightcandles at the grave of Rose of Turaida ontheir wedding day.What: Musical performance.Where: Historic sites and natural featuresin the Sigulda area.When: 2012 – Legend of Kaupo at theSigulda castle ruins; 2014 – Legend of theRose of Turaida on Gūtmanis Island.Concept author: Sigulda District Council.Organisers: Sigulda District Council.Partners: Professional composers,choreographers, poets.turning stylishTo change the dank destiny of basements– transform them into beautifulmeeting-places! Awaiting the yearof the European Capital of Culture,Sigulda will look for ways to convertbunkers from the Second World Warinto accessible and pleasant spaces forpublic use. The best idea for revampingthese sites, which are also importanthistorically, will be implemented in2014 as a gift to the residents and asurprise for the visitors.was located. The air raid shelter was builtfor the use of the headquarters personneland is currently not used. There have beenvarious plans to turn these bunkers intocafés, youth centres or art galleries.The Sigulda Town Council, consulting withboth residents and experts, will seek themost interesting concept for making useof these structures.What: Creative workshop.Where: Sigulda.Concept authors: Sigulda RegionalCouncil, Development Board, CiltureBoard, Sports and Tourism Board.In 1944, during the Second World War,Sigulda served as the headquarters of theGerman Army Group Nord. In the formerWhite Manor, then the Sigulda secondaryschool, the headquarters’ security service143

different timesOne of the most beautiful ancient blessingsof Sigulda is the Turaida Castle. In2014, the Castle will celebrate its 800 thbirthday. Within the ECC programme,sand paintings‘Sand is not composed strictly of silica.It contains all of the elements ofMendeleev’s table, various materials invarious concentrations. Water trappedthe celebration will include a paradeand a presentation “Different Times”,which will allow everyone attending tounderstand the historical and socialevents that brought about both thecastle and modern Sigulda. The celebrationwill focus on both what Rigaand Sigulda have in common and whatis unique in each.The parade will symbolically traverse timefrom the 1300s to the current day. Personsof both genders, different ages and differentsocial status will be represented working,relaxing, and playing. The parade willbe designed as an extraordinary event inperpetual motion on foot, horseback andwheels, with sharp contrasts and coloursleaving a lasting impression. 14 differenthistorical scenes will be created. Horsesand carriages, as well as more modernmobile platforms, will be adapted for theparade. Music from various periods ofin sand is capable of saving informationin itself, it speaks to us. Workingwith sand, I sometimes utilize an improvisedsandstorm, rain, floods, andearthquakes. The use of sand for decorativepurposes is not my invention, ithas been used for thousands of yearsin many parts of the world, but I havefound my technique, my own manner inwhich to cultivate the language of creatingsand paintings,’ says artist ElmārsGaigalnieks who lives in Sigulda, as heprepares a new surprise for 2014.Elmārs Gaigalnieks is currently the onlyknown artist in the Baltics that uses sand asa medium for artwork. Sand paintings arecreated by a technique that the artist hasdeveloped over ten years, through tirelessexperimentation. Various painting, sculptureand graphic arts elements and other toolsare used to create them, among them narya paintbrush. How will this exhibit differ fromtime will enhance the effect. Also, professionalactors, musicians and dancers willparticipate as well as volunteers from thecommunity and amateur groups such astheatres, dance collectives and choirs.Workshops will be held to prepare the participants.The plan is to involve as manypeople as possible in creating the spirit ofsolidarity and co-operation.What: Historical procession.Where: Near Turaida Castle.When: August.Concept authors: Marana Productions.Organisers: Sigulda Region Council,Turaida Museum.Partners: Local government. institutions,businesses, NGOs, and general public.others we have experienced? Artist ElmārsGaigalnieks, in cooperation with the SiguldaArt School, will pass on his creative skill toyoung artists. Instruction will take place forone school year and in June, together withthe artist, the youth will exhibit their work.The art exhibition will take place togetherwith the rock group Dzelzs Vilks. Music composedespecially for sand paintings, steamingtea, a sand box for flights of fantasy andthe artist’s own participation will guaranteean unforgettable experience.What: Interactive exhibition.Where: Gūtmanis Cave.When: June.Concept Author: Elmārs Gaigalnieks.Organisers: Elmārs Gaigalnieks, Art StudioDzeltenā dzeņa ordenis, Sigulda ArtSchool, rock group Dzelzs Vilks.Cooperation Partner: Sigulda DistrictBoard.nature’s concert hall“Nature’s Concert Hall” is a jointproject of Latvia’s artists and scientists- its goal is to draw attention tonature, which we don’t notice everyday,to invite us to be considerate ofthe environment. Musicians play music,attentively listening to the landscapethat surrounds them, and inviteeveryone to catch the special sensationsof the world around.Since the times of Grand Duke Kropotkin,the owner of Sigulda Manor, at the turn of the18 th century, Sigulda has always served as arespite for vacationers, and the city leadershave never allowed the city’s territory to bebuilt up with industrial structures. The largestbuildings here are castles, churches,schools – an ideal place for the humanitarianidea of tended soul/tended environmentto flourish. The environment pertains not justto green areas, but also to the city’s socialinfrastructure, where people play the dominantrole.sprint run upturaida towerBecome the fastest messenger! Themotto for this unique competition willresound, popularizing an active lifestyleamong the locals – a sprint raceup the ancient Turaida castle tower’sobservation field, 38m high.The race will take place at the main tower ofTuraida Castle. Within each age group, 16of the best participants will qualify, then 8,but in the final run the best 3 will be determined.For the age groups 7–10 years and56+ years, there won’t be a qualificationrun; the final will take place immediately.In essence the project is the symbiosis ofmusic, science, poetry and video art thathelp people to get closer to nature on anemotional level, to protect it not with laws,but with their attitude. Nature, people andmusic create an inseparable trio in thisconcert.In 2006, the concert “Nature’s ConcertHall” took place for the first time in Sigulda.Sound artist Pēteris Ķimelis brought insectand bird stories to life with video material,which, together with poet Pēters Brūveris’poetry and entomologists’ narration, revealedfor us the secrets of the naturalworld. These stories were augmented bymusicians - together it created a mysticalatmosphere while awaiting midnight inKrimulda Park. We will continue this event,offering it every year in August, dedicatingeach year to a different theme.What: Concert and insect observation.Where: Krimulda Park.When: August.Concept author: World Environment Fund.Organisers: World Environment Fund,What: Race.Where: Turaida Museum Reserve.When: Last Saturday in May.Concept author: Sigulda Sport & TourismAuthority.Organisers: Sigulda District Board, RigaRegional Sports Initiative Centre.Cooperation Partners: Association “A2”,Turaida Museum Reserve.www.dabaskoncerts.lv.Cooperation Partners: World EnvironmentFund, United Nations DevelopmentProgram, Association of LatvianEntomologists, Latvian EnvironmentalProtection Fund, Association of LatvianOrnithologists, Gauja National Park .144 145

ock the boatThese days many young people knowhow to operate jet-skis, but wouldn’tthe making of a boat with one’s ownhands provide a greater satisfactionabout one’s skills? Anyone can tryand make a boat out of a single pieceof wood!Sigulda is known as an ancient Livoniansettlement of the Finno-Ugric tribes, andSigulda State Gymnasium teacher, artistRaits Tikums, still knows how to make typicalLivonian and other Finno-Ugrian logboats. Courageous visitors to the MuseumReserve can currently try them out in thepark’s pond.The making of a log boat requires an aspentree log approximately 5m in length. Itis hard work, and requires much patienceof the master. The tradition is known tohave been preserved also in Estonia andsome parts of Sweden.Research work is planned until 2014, inorder to find the masters of this craft, andassemble all of them together in 2014. Theboat opening or expansion is an occasionthat commands attention – stoking a boatlengthbonfire, heating of water in hugepots, heating of rocks and steaming of theboat, so that, with the help of spreaders, itcould be slowly expanded.stage of talentsDouzelage is an association of 23European small cities, of which Siguldais a member. In the context of 2014,Sigulda has initiated a project that is directedtoward the support of young talentsand would fit in the Riga`s “AmberVein” concept.The project will include an internationalyoung musicians competition “Musician ofthe Year“ in Sigulda, with the goal of promotingprofessional musical education forchildren and youth. Young musicians fromvarious EU member states will have the opportunityto demonstrate their skills in frontof an international jury and audience in thesonorous Sigulda Concert Hall.The project will be implemented in twophases:1) Creative workshop where 3 artistswill work, they will make the boat as anart object, utilizing historic boat makingtraditions;2) craftsmen from Estonia and Sweden willdemonstrate the authentic art of boat-making,with the participation of Sigulda youth,who will help in the making of a boat.What: Creative boatmasters workshop.Where: Turaida Museum Reserve.When: Phase 1 – 2012, Phase 2 – 2014.Concept author: Raits Tikums.Organisers: Raits Tikums, Sigulda DistrictBoard.Cooperation Partners: Turaida MuseumReserve, Eco-tourism Information andEducation Centre, Gauja National Park.What: International competition.Where: Concert Hall Baltais flīģelis,Sigulda Cultural Centre.When: Summer–Autumn.Concept author: www.douzelage.org.Organisers: Sigulda Music School, SiguldaDistrict Board Cultural Authority, SiguldaDistrict Board Development Authority.Cooperation Partners: The followingcities have confirmed their participation:Neideranven (Luxembourg), Sherborne(Great Britain); Susice (Czech Republic),Turi (Estonia). Response are still awaitedfrom: Holstebro (Denmark), Oxelosund(Sweden); Karkkila (Finland); Koszeg(Hungary).festival of marveloustheatre “soul sprouts“Light shows draw people in becausetheir effects are so unpredictable. Thegoal of this theatre of light is to givechildren and youth from socially disadvantagedfamilies the chance tolearn new skills, gain society’s recognition,and integrate more easily.The participants will be drawn into thecreation of the theatre of light. The director ofthe workshop will encourage the participantsto influence the rhythm and proceedings ofthe show. Participants will make set piecesand enliven them by learning appropriatemovements to musical accompaniment. Ashow within a show will then focus on thedifferent forms of decorations of varyingsizes.The theatre of light involves innovativemovement and music to stimulate creativityamong the participants. The show takeskremerata balticaSigulda has become famous for thechamber music festival, KremerataBaltica, where, in Siguldas concert hallBaltais Flīģelis, outstanding chambermusic concerts take place.Outstanding world-renowned Rigensian,musician and violinist Gidon Kremer, Balticorchestra Kremerata Baltica, orchestralchamber ensembles and guest soloistsparticipate in the festivals.With 2014, the festival’s mission anddirection is creative revelations – composers‘new opuses introduced and new musicstars – young outstanding soloists – arediscovered.place in darkness, where ultraviolet light isused with white set pieces to create specialeffects and a special atmosphere.Participants need no special preparationand the activity is therefore accessible todifferent age groups and handicappedpersons. The audience, as well as theparticipants, benefit from this cooperation.Another form of expression at the festivalwill be performances prepared at movementand dance workshops. Games willencourage children to create their owndances. The Sigulda group “Wings ofHope” has already proven itself capableof success – members of the troupe haveparticipated in international events inTurkey and Poland as well as Latvia. 60children participate in the association, 8 ofthem with partners in Germany.Participants will come from 10 differentcountries: Latvia, Lithuania, Germany,Poland, Belarus, Slovakia, Azerbaijan,Macedonia and 2 African countries. Thefestival will give children a chance to meetand to find new friends.The Festival history includes such contemporaryclassic composers as ArvoPärt, Giulio Cancelli, Leonid Desyatnikov,Alfreds Šnitke, Pēteris Vasks. The Festival isplanning a high quality programme for 2014as well.What: Chamber music festival .Where: Sigulda Concert Hall Baltais flīģelis,Sigulda Lutheran Church, Sigulda CatholicChurch.When: End of June.Concept author: Gidon Kremer.organisers: Sigulda Concert Hall Baltaisflīģelis, Kremerata Baltica,www.kremeratabaltica.lv,www.sigulda.lv.Cooperation Partners: Businesses,embassies.What: Theatre festival.Where: Sigulda.When: Autumn.Concept authors: Ingrīda Žigure, Eva Viļkina.Organisers: “Wings of Hope”www.ceribusparni.lv.Partners: Social Agency of the SiguldaRegion Council, Culture Board, Viļāniassociation Saulstariņš, Olaine associationĀbolītis, Sustento, Lebenshilfe (Germany).146 147

celebratingmidsummer nightAt various festivals in Sigulda, Rīgaand throughout Latvia, Christian traditionspeacefully co-exist with centuries-oldtraditional festivities. Themost widely celebrated solstice takesplace during summer’s shortest night– Midsummer. This promotes tolerancefor various traditions, unifying peopleon summer’s shortest night.Over the years, summer solstice celebrationsat Turaida historic grounds havecaptured the interest of many people. Incooperation with the organization Mārasloks and Turaida Museum Reserve, whichhas been accomplished up until now atteststo the fact that society has a growinginterest in understanding and preservingopera music festivalThe favourite festival of high level operamusic performers and spectatorstakes place on the stage of Siguldacastle ruins, surrounded by 13 th centurycastle walls. The Sigulda OperaMusic Festival has featured notableLatvian and also foreign opera musicstars, for example: Katya Angeloni,Sissela Kirkebu, Janice Dickson,Mihela Shamir, Michael Dean, AlfredoDaza, Ahmed Agadi and many others.Under the initiative of surgeon DainisKalns, the Festival has taken place annuallysince 1993.Today, in addition to the world renownedopera music performers concert and operaperformance, the Festival has a newancient cultural heritage as a living tradition– accessible and open to all who areinterested.Along with the annual event – celebrationof the traditional solstice, in 2014, informationwill be gathered about those placesin Latvia and the world, where solstice iscelebrated on June 21 st – the shortest nightof the year. Additionally, there will be an exchangeof impressions about festivities. Awebsite has already been created, whereone can both get acquainted with maps ofsolstice celebration sites, as well as addnew venues.The traditions of Midsummer celebrationsinclude cheese making, songs devotedespecially to this holiday, dances, games,hilltop fire pole etc. This is a celebration,that gives each of us the opportunity torealize our place on earth and our connectionwith life’s cycle.challenge – to create performances specificallyfor young opera artists in order todraw in young opera music listeners. Thesecond event is a wide ranging opera musicconcert – professional artists are invitedto collaborate in its creation – the LatvianNational Symphony Orchestra, opera soloists,choir performers and Latvia’s amateurchoirs’ singers.What: Festival.Where: Sigulda Concert Hall Baltais flīģelis,Sigulda Lutheran Church, Cultural Center,Sigulda Castle ruin stage.When: Third week of July.Concept author: Dainis Kalns.Organisers: Sigulda Opera Music Festival,Sigulda District Board.What: Summer solstice celebration.Where: Turaida Museum Reserve territory– Jāņu Hill, Dziesmu Garden, SkandiniekuSpring, Dainu Hill, Sigulda District hills.When: June 21 st .Concept authors: Jolanta Borīte, AndaSkuja, Agnija Saprovska.Organisers: Sigulda District Board, TuraidaMuseum Reserve, Organization Mārasloks, Latvian Folklore Association,Latvian Trade Chamber, State Agencyfor Non-material Cultural Heritage,www.saulesloks.org,www.worldsuncircle.org,www.sigulda.lv, www.tmc.gov.lv.Cooperation Partners: Latvian folkloregroups, mens’ choirs, bagpipers,craftsmen, Dance club, any and allwilling to participate.summer of theatresSigulda has become the home for theLatvian theaters’ summer gathering– hosting performances for all tastesand audiences. In 2008, Sigulda tookover the initiative to host the DaileTheatre Summer Festival, which invitesnot only its own, bet all of Latvia’sprofessional theatre actors, to leavethe city walls and come closer to theiraudience.Daile Theatre is the largest professionalreperatory theatre in Latvia. The Theatrefeatures grand contemporary perfomances,both in form and content, that includea wide spectrum of productions: classicworld literature, period drama, musicaland children’s shows. The Daile TheatreSummer Festival takes place every twoyears. The last Festival proved that the aimof bringing the event to a level of nationalimportance was completely justified.wind dancesIn the air, without a rope or parachute –that is what flying is all about. The ancientstory of Ikarus has become a realitythese days. In Sigulda, there is anastrounaut training facility Aerodium,where you can experience free-fall,flying on an air stream created by astrong Boeing propeller.The wind tunnel, set up in Sigulda, hasan air stream speed of 180-200 km/h.Aerodium is the first vertical wind tunnel inEastern Europe. The powerful air current inthe wind tunnel allows one to fly!Aerodium project consists of special trainingfor children and youth aged 8–15, afterwhich the best trick masters will be able toEvery year, a different national theatre isinvited to take on the leading theatre role,with other theatres participating in the festivalprogramme as guests. Theatre performancesare shown in traditional indoortheatres, public spaces and outdoors.The Festival organisers provide a variedprogram of entertainment. It includesthe possibility, with the aid of make-upand theatre cosutmes, to transform intovarious characters and become immortalin photographs. There are also horse rides,boat excursions, city tours, entertainmentfor children.What: Theatre festival.Where: Sigulda public space, historic sites,cultural halls, concert hall Baltais flīģelis,Sigulda Catholic church, Castle Ruinstage.When: June 2010, 2012, 2014.Concept authors: Aivars Līnis, IndraRubene, Juris Vaivods.Organiser: Daile Theatre.Cooperation Partner: Sigulda District Board.fly and perform tricks in the air. The trainingprogramme will become the basis forthe show programme in 2014, and the bestfliers will be able to particpate in the openingceremonies at the 3 rd Latvian WinterOlympics. The show will be the interactionof music, free-fall and videography.New acrobats, who will perform in showsthroughout the world, will be chosen fromthose talented youth, who have reachedthe age of 16.What: Training program, show.Where: Sigulda.When: March.Concept author: Ivars Beitāns, JolantaBorīte.Organisers: Aeroduim Latvija, “LGKGroup”.Cooperation Partners: Sigulda DistrictCouncil, Latvian Olympic Committee.148 149

winter olympicsThe Sigulda Bobsleigh Track, where competitionsboth at the Latvian and world levelstake place, was built in 1986. The originsof bobsleighing in Latvia can be found inSigulda at the end of the 19 th century, whenthe owner of Sigulda Manor, Grand DukeNikolai Kropotkin, built the first 900m longbobsleigh run with one curve. Today, it isone of 17 world bobsleigh tracks, its lengthis 1200 meters, it has 16 curves and maximumspeed is 125km/h. The 3 rd LatvianWinter Olympics will take place here in2014, one more test of strength after theWinter Olympics in Sochi.observation tower will be made accessibleto visitors, and the options to ride thetrack will be improved. Even now, one canfeel like an athlete and try their skills at icecurves in a competition sled.What: Sport competition.Where: Sigulda.When: Winter.Concept author: Sigulda District Board.Organisers: Sigulda District Board, LatvianOlympic Committee.Cooperation partners: Ventspils Board,Riga board, Jelgava board, ValmieraBoard, Priekuļi and Cēsis District Board,Ministry of Education, Cultural andCreative Industries Education Center.Athletes from throughout Latvia will competein 11 winter sports – biathlon, crosscountry skiing, downhill skiing, snowboarding,bobsleigh, luge, skeleton, figure skating,short-track, hockey and curling. Fiveof these events will take place elsewhere inLatvia. The competition is organized basedon the traditions of Olympic games.The event will be similar to the WinterOlympics – it will begin in February with atorch lighting ceremony in Sigulda Castle.Until March, the torch will travel to all municipalitiesand sport halls where Olympiccompetitions will take place. In cooperationwith the District school board and Artschool, various art events will take place:• Creation of 20 snowman costumes,which will carry the team names during the3 rd Latvian Winter Olympics;• Award painting.In the winter of 2014, Sigulda will host othersporting events, most notably the traditionaltoboggan World Cup.An exposition about the history of bobsleighand toboggan is planned in2014. Additionally, the Bobsleigh Track150 151

152cultural centres of rigaand largest venuesfor 2014 events

Latvian National LibrarySpīķeri – a quarter for creative industriesLatvian National LibraryRiga Concert HallContemporary Art MuseumThe construction of the Latvian National Library is the most significant and large-scalenational initiative of the 21 st century in Latvia. The library building, which is figurativelyknown as the ‘Castle of Light’ will become both a centre for information, culture andsocial life, and a striking feature of the urban environment and a symbol of Riga. TheLatvian National Library project is supported by UNESCO, which in 1999 adopted a resolutioninviting Member States and the international society to provide as much supportas possible to implement the project. Construction of the building commenced in 2008.The ‘Castle of Light’ should be open to visitors in 2013. For more information about theproject: www.gaismaspils.lv.Riga Concert HallRiga Concert Hall and the Latvian National Library will be situated next to each other,forming a new group of cultural facilities on the left bank of the River Daugava. TheUNESCO World Heritage Centre has recognised Riga Concert Hall as an example ofquality architecture that will elegantly enhance the new centre of the city. Riga ConcertHall will not only be a prominent example of architecture and a symbol of the city, but willalso give its visitors the opportunity of enjoying an unrepeatable combination of acousticsand technical quality. The building will contain three halls – a Grand Hall for performancesof academic music, as well as a Small Hall and an Experimental Hall that may beadapted for different genres of music. Spacious rooms for the public and rooms for thedaily work of musicians, including rehearsals, will be provided in Riga Concert Hall. Formore information about the project: www.koncertzale.lv.Contemporary Art MuseumThe Contemporary Art Museum will be established in a historic building – in the formerpower plant on Andrejsala. Over the next few years this former port area will becomea modern and attractive neighbourhood, just as Soho in New York, or Notting Hill inLondon. The Contemporary Art Museum will be a multifunctional cultural centre withexhibition rooms occupying 4 000 m2, a conference and cinema hall, a computerisedinformation centre, a library and archive, as well as rooms for art pedagogy and projectworkshops. The museum will not only reflect the symbols of national identity that confirmthe rich Latvian heritage of visual art, but will also become a testimony to the significantrole of Riga in the cultural processes of Europe in the 21 st century. At the sametime as developing the construction project of the building, the collection for the LatvianContemporary Art Museum is being established – works are being selected by an internationalexpert commission, approved by the Ministry of Culture. For more informationabout the project: www.camriga.lv.Based on the development plan for the city of Riga, which envisages the developmentof cultural and recreational functions in the historic warehouse area, Spīķeri, involving theterritory in the social and business infrastructure of the city, Spīķeri is becoming a cityquarter for creative industries, developing a cluster of high added value. Spīķeri alreadyhouses the unique Doll Art Museum, avant-garde theatre for adults and children, andcontemporary music and cinema events take place in the Dirty Deal Café. Every week,notable festivals and unique concerts make Spīķeri a significant centre for contemporaryculture. It is one of the epicentres for events during the city’s most noticeable cultural festivals– “White Nights”, “Poetry Days”, “Radiant Riga”. The newly opened boat transportsystem has provided a basis for rejuvenating the Spīķeri embankment.Spīķeri is a complex of buildings between Maskava, Turgeņeva and Krasta Streets, andthe Spīķeri embankment, from the old pier of the Railway Bridge to Sala Bridge. The industrialaesthetics of the territory of Spīķeri included in the UNESCO World Heritage listserve as inspiration for developing the quarter.It is hoped that the territory of Spīķeri will be transformed into a contemporary, modernand publicly accessible urban environment. Spīķeri will be the home for creative culturalorganisations, contemporary music and cinema events, art galleries, offices, cosyrestaurants and cafés. Spīķeri will be the location for the most outstanding College ofGastronomic Arts in the Baltic region and an organic market for Latvian farmers.The future of Spīķeri embankment is in high quality designer objects and as a locationfor cultural events, wide options for water sports for all the family, with pedestrian andcyclist-friendly access and as the central hub for Riga’s water transport. It is planned thatreconstruction of the Spīķeri quarter will finish in 2012, and the improvement of Spīķeriembankment will conclude in 2009–2010.Wooden building complex on Kalnciema Street –a commune of creative industriesImplementation of the private initiative model was commenced in 2004 by Kārlis andMārtiņš Dambergs, in collaboration with architect Liene Griezīte, renovating the ensembleof wooden buildings on Kalnciema Street. The Dambergs began their business activitiesby producing recycled wooden floors and this grew into the purchasing and restoringof the wooden houses. The NGO Latvia Nostra proposed the street renewal projectto Riga City Council in 2002, but a positive turning point in the delayed renewal stagnationprocess took place thanks to the NATO Summit in Riga, in November 2006. Prior to thisimportant event, significant government funding was granted, because convoys of distinguishedguests could not be taken to the city centre from the international airport withoutpassing the wooden houses on Kalnciema Street, which, at the time, were in a very poorcondition. Today, the commune of Kalnciema Street is a lifestyle that has a magnetic attraction,involves people with similar views and brings together like-minded people forinhabiting the houses. The agenda of the “Green House Commune” includes a canteenproject, of which an organic component will be green markets that will offer locally grownseasonal products.SpīķeriWooden building complex on Kalnciema Street154 155

Central MarketLatvian National OperaCentral MarketRiga’s Central Market is the largest market in the Baltics and one of the largest open typemarkets both in Europe and the world. It was unveiled in 1930, and the five market pavilionscomprised the largest construction object in Latvia after the First World War. Thefunction of the Central Market has not changed up to the present day – it is the largestand most popular place for shopping and trading. Farmers from the whole of Latvia offertheir products in the market pavilions and the open market territory – vegetables, berries,fruit, meat, dairy products and other countryside goods. The Central Market is alsoinvolved in art activities – this year, the annual “Art Days” were organised here with anartists’ campaign on the roof of the meat pavilion, poetry readings, sale of artistic itemsand lectures by professionals about contemporary art.Daugava embankmentIn the 14 th century, the embankment of the Daugava became the city’s main harbour.With changing times, the harbour has moved further away from the city centre, but theembankment now serves for recreational purposes. The embankment of the Daugavahas also entered history as one of the symbols of the Singing Revolution, which broughttogether hundreds of thousands of people for peaceful demonstrations demandingrestoration of national independence. Every year military parades take place here onNational Independence Day, but in the evening, people converge to marvel at the fireworkdisplay. Hundreds of thousands of people celebrated the country’s accession tothe European Union on the embankment, where various city festival grand concerts havetaken place. Boat trips leave from several quayside stopping points, offering anyoneinterested a view of Riga from the River Daugava.Latvian National OperaThe ‘White House’ of Riga, as the opera is popularly known, was built in 1863. At thetime it was called the City’s First Theatre, or German Theatre, and it was built accordingto the project implemented by St. Petersburg’s architect, Ludwig Bohnstedt. Today, theNew Hall has been added to the historical building of the Latvian National Opera. Duringone season 200 performances are staged at the Opera. During one year an average of6 new productions are prepared, retaining a proportionate amount of opera and balletperformances. For two weeks in June, the annual Riga Opera Festival takes place, whichhas been organised since 1998, as a resume of the former season. During the festival,the previous season’s new productions and most significant performances are usuallydemonstrated, and a large symphonic work performed.Arēna Rīga(EAA) since November 2005. EAA unites more than 20 European arenas, and its objectiveis to promote a unified exchange of information among the arenas of Europe aboutevents, legislation, novelties in the technology field and changes in the market situation.The Arena was opened in 2006, its capacity – 14,500 seats, total area 22,568 m 2 , arenaarea – 33 x 63 metres.Mežaparks Open-Air StageThe Mežaparks Open-Air Stage was built in 1955. Although several reconstructions andadditions to the stage have been implemented over time, it has retained its original visualimage and is suitable for organising vast cultural and recreational events – uniting upto 20,000 singers and close to 100,000 audience members in the Genereal Song andDance Celebration. Rock concerts and other popular events take place on the stage.In 2008, Phase 1 of the stage reconstruction was completed and Phase 2 should becompleted in a couple of years, during which it is planned to widen the stage and audiencesection, as well as considerably improve the area surrounding the stage. The parksurrounding the stage is already suitable for public sports and recreational pastimes andchildren’s activities – the century old Zoo is located next door.Riga Art Space“Riga Art Space” is a multifunctional exhibition hall backed by Riga City Council, whosemain task is to promote and support contemporary visual art, both at local and internationallevel. “Riga Art Space” operates on parallel levels within the frameworks of severalprogrammes. The basis of the large exhibition programme is formed by “Riga ArtSpace” and guest curators, ensuring at least 5 large art displays per year. Within theframework of this programme, each display can be viewed for 2 months. When planningthis programme, parity between hosting travelling exhibitions and the creation of originalart products is observed. The exhibition programme “Intro”, dedicated to the Baltic andEastern European national art space, takes place separately in a small exhibition roomand ensures a turnover of 12 displays per year. This programme compensates for thelack of non-commercial art galleries in Riga and special emphasis is placed on providingopportunities for the debuts of new artists or art curators.The “Public Forum” is a programme that creates cooperation opportunities betweenrepresentatives from creative professions and those working in other sectors, promotessocial activity, expressions of procedural art and art in the public arena. 4 bigger interdisciplinaryart events per year are planned within this programme and smaller, regularcycles of thematic events. “Public Forum” will offer concerts, literary and theatrical artevents, cinema and video art events, public readings and meetings with the creativeintelligentsia from Latvia and abroad.Mežaparks Open-Air StageRiga Art SpaceArena “Riga”The technical equipment and level of service provided by Arēna Rīga complies with thetop class needs of the international entertainment industry, which, with the participationof the world’s most sought-after stage artists, musicians and sportsmen, can bring togetheraudiences of several thousand people. The Arena provides event organisers theopportunity of offering Latvian audiences the world’s most sought after shows, performancesand concerts. Arēna Rīga has been a member of the European Arena AssociationThe aim of “Riga Art Space” educational programme is to promote understanding insociety about contemporary art processes, by organising lectures, meetings with artists,providing guide services, cooperating with educational establishments and art schools,as well as offering visual art activities for individuals and groups. “Riga Art Space” wasofficially opened in 2008. The Large Hall is 1700 m 2 , the Intro Hall 150 m 2 and the educationalroom 70 m 2 .156 157

Latvian National Museum of ArtĶīpsala Exhibition CentreLatvian National Museum of ArtThe mission of the Latvian National Museum of Art (LNMA) is to use museum resourcesto enrich the widest section of society with Baltic and Latvian fine art treasures from thelate 18 th century to today, providing testimonies of the historical and artistic expressionsof the development of culture and art in Latvia, the formation of the National School ofArt and its manifestation within the context of global cultural history and contemporaryprocesses, and of the national identity.The Latvian National Museum of Art is the largest depository of national art in Latvia. Themuseum building on K. Valdemāra Street is one of the most impressive constructions ofthe historicism style in the scope of Riga boulevards. In turn, the exhibition hall Arsenālsbuilding on Torņa Street is an example of the Empire style of late Russian classicism.The museum houses more than 52,000 works of art. The basic collection of the LNMAis composed of collections of paintings, graphics and sculptures. Permanent exhibitionsthat reflect the development of professional art in the Baltics and Latvia from the mid-18 thcentury to today can be viewed in the museum, and also reveal vivid episodes of Russianart from the 18 th century to the 1 st half of the 20 th century.The total size of the International Exhibition Centre in Ķīpsala is 17,200 m 2 , it contains a conferencehall that seats 250 people and car parking spaces for 1200 cars. Exhibitions, conferences,congresses, annual markets, concerts and other mass events take place here. Severalworld famous celebrities have performed concerts in Ķīpsala, including Patricia Kaas, RobertPlant, Placebo, Gregorians, Nazareth, Emir Kusturica, Goran Bregovic, R.E.M. and others.Musicals have also been popular – in 2004 and 2005 “The Sound of Music”, in 2006 and 2007“West Side Story” and in 2008, Les Miserable, based on the novel by V. Hugo. Ballroom dancingfestivals, Song and Dance Celebration grand performances also take place here.Dome Cathedral and Dome GardenDome Cathedral is the cathedral of Riga and Latvia’s archbishop and the place of worshipfor the Dome parish. The foundation stone of Dome Cathedral was laid in a solemnceremony led by Bishop Albert in 1211. The organ built in 1884 by E. F. Walcker & Co. isincluded among the world’s most valuable organs – it has the highest quality of technicaland artistic execution and ranks amongst the highest achievements of organ constructionart of the late Romantic period.Ķīpsala Exhibition CentreLatvian National Museum of ArtExhibition Hall ArsenālsThe LNMA regularly organises art exhibitions, participates in international projects, preparesmuseum publications, organises scientific conferences and various art and culturalevents. In parallel to exhibition and display activities, the Latvian National Museumof Art carries out intensive educational work. Visitors are offered tours led by museumemployees and special museum pedagogical programmes. A scientific document centreis available for interested parties.Annually, the museum welcomes approximately 130,000 visitors from all over the world.In 2005, the Latvian National Museum of Art celebrated the 100 th anniversary of its mainbuilding.Latvian National Museum of Art Exhibition Hall ArsenālsThe exhibition hall Arsenāls of the Latvian National Museum of Art, in Riga Old Townon Torņa Street 1, is situated in a customs warehouse building of the early 19 th century.It was built to the project of architect, I. E. de Vitte, in the Empire style of late RussianClassicism.The museum collection stored in Arsenāls is composed of paintings, graphic art andsculptures that were created in Latvia in the second half of the 20 th century to today andthat were produced by artists of Latvian origin in the world during the specified period oftime. Art exhibitions, international projects and other art and cultural events regularly takeplace in the Arsenāls exhibition hall. But on the 2 nd floor, the LNMA Creative Workshopconceptually acquaints society with the untraditional and interactive forms of contemporaryart in Latvia and in the world.The organ is an outstanding monument to music history. It is associated with the mostprominent Latvian organists and composers of the last 120 years and has affected thedevelopment of the art of organ music in Latvia more than any other instrument. FerenzLiszt, one of the most prominent music personalities of the 19 th century, wrote a piece forthe organ especially for the blessing of Dome Cathedral organ, Nun danket alle Gott.Both spiritual and cultural events and events of national significance take place at DomeCathedral. In the garden, adjoining the cathedral, open-air concerts take place in aunique atmosphere.Dome SquareThe centre of Dome Square is the place from where it is possible to see the three gildedcockerels of Riga Old Town churches. The creation of Dome Square commenced inthe late 19 th century, demolishing buildings on the western and north-western sides ofDome Cathedral to uncover the access portals to Dome Cathedral. The square hasexperienced the desire by different forces to leave their mark – in its time Dome Squarehas been nominated 15 th May Square, in honour of the authoritarian coup d’état, and 17 thJune Square – dedicated to the arrival of the Soviet Army into Latvia. Dome Square is atraditional meeting place for city dwellers and guests during city celebrations, the herbmarket at Midsummer, concerts, demonstrations and New Year festivities.St. Peter’s ChurchToday’s city dweller can recognise the church from a distance by its popular gildedcockerel. It is located in the historical centre of Riga and was included in the UNESCOWorld Cultural Heritage List on 4 th December, 1997. Mentioned for the first time in documentsin 1209, the building of St. Peter’s Church is one of the oldest and most valuableDome Cathedral and Dome GardenSt. Peter’s Church158 159

medieval monumental architecture constructions in the Baltic States. In the 17 th century,the church’s tower construction, at 64.5 metres high, was at its time the highest woodconstruction tower in Europe. In 1721, the church tower was hit by lightning and burntdown. By order of Russian Tsar Peter the Great, who at that time was in Riga and tookpart in extinguishing the fire, the tower was renewed in its previous form and then the totalheight of the tower was 120.7 metres. St. Peter’s Church was once again ravaged duringthe 2 nd World War and the tower renovation works were completed in 1973. Internal restorationof the church was completed in 1984. The wide church hall is used not only forreligious services but also for concerts, art exhibitions and displays of architectural andurban construction competitions.Small GuildThe Small Guild, built in 1866, is located in the very heart of Riga Old Town, next to Liv Square.The particularly opulent interior of the Small Guild was improved and embellished in 1888,during the time of longstanding Guild Elder Friedrich Brunstermann, when the coat of arms ofthe Small Guild was placed in the facade’s cornice opposite Meistaru Street, and the entrancehall, vestibule and hallway floors were laid in a terraco mosaic. The work was carried out byItalian craftsmen sent by the company Johann Odorico from Frankfurt am Main. Colouredstained glass was inserted into all the building windows in which the portraits of the craftelders and traditional clothes from earlier centuries are reflected with photographic precision.House of BlackheadsHouse of BlackheadsThe House of Blackheads, initially called the New House, was built in 1334, built as aplace for meetings and feasts for Riga’s public organisations. But in the 17 th century, itsonly inhabitants became the fun-loving and enterprising brotherhood of foreign merchants– the Brotherhood of Blackheads. One of many patrons of the brotherhood wasSaint Mauritius, a leader of the Roman Legion who died a martyr’s death – his head wascut off, therefore the image of a Moor’s head became the Blackheads’ sign of recognitionand symbol, and was also depicted in the Brotherhood’s coat of arms. The building,known as the most resplendent jewel of Riga, just like the Town Hall, turned into ruinsduring the 2 nd World War. In 1991, in honour of Riga’s 800 th anniversary, the building wasbuilt anew by the City of Riga on its old foundations. A sculpture of Roland, the symbolof medieval Hanseatic free towns, was erected next to the building.Choral, solo and classical music concerts, exhibitions, lectures and business meetingstake place in the 19 th century ornate Neo-Gothic style building and in 2006, the academicdiscussions of the NATO Summit organised in Riga, also took place here.The Great Hall has 450 seats.Latvian National TheatreThe theatre building is famous for being the location of the proclamation of the Republicof Latvia on 18 th November, 1918. The history of the theatre began in 1902, when it wasknown as the Second Theatre of the city of Riga. Since then, the theatre continues tocongregate wide audiences from throughout Latvia, staging both classical Latvian productionsand plays by foreign playwrights, and obtaining public recognition with contemporarycomedy performances.Latvian National TheatreGreat GuildFor several years, events with the participation of craftsmen have taken place in TownHall Square by the House of Blackheads – the May Count’s Festival opens the season offestivals and annual fairs in Riga and the Miķeļdiena Apple Market in September closesthe season. New exhibitions are opened each month on the gallery’s two floors and theexhibition hall in the basement. The Festive Hall with its wonderful acoustics was knownas one of the best concert halls in Riga. Concerts are also regularly performed in thenewly built House of Blackheads Festive Hall with its superb acoustics. The House ofBlackheads has received the leaders of many countries, as well as the heads of royalhouseholds and spiritual leaders.Great GuildThe Great Guild – one of the oldest public buildings in the Baltics, the origins of its historicpart reach as far back as the first half of the 14 th century. It was established in Riga,in 1354, when merchants separated from the Sacred Cross and Trinity Guild. Members ofthe Great Guild were German merchants, goldsmiths and men of letters. The Great Guildhas historically always been open to cultural, public and social events, several worldfamous musicians have performed concerts there, including former Rigans of the world,Misha Maisky, Gidon Kremer and others.Alongside concerts, conferences, seminars and social events also take place in thepremises. The Great Hall has 669 fixed seats, with the option of adding 50 extra seats.New Riga TheatreThe New Riga Theatre (Jaunais Rīgas Teātris), is a professional repertoire theatre, foundedin 1992, offering its audiences a clever, attractive and unusual repertoire – a contemporaryangle on classical, original Latvian drama and works of foreign writers. The Theatre has twofixed playing areas: the Large Hall with 470 seats and the Small Hall for an audience of 100.In addition, new playing areas suitable for performances are constantly being sought, bothin the theatre and in untraditional locations. ‘It is significant that restless souls have congregatedaround this building. As the concentration point for many spiritual experiences, thisbuilding should be compared to an Ancient Greek temple’ – thus one of the most prominentLatvian directors and the legendary head of the Daile Theatre, Eduards Smiļģis, definedthe building on Lāčplēša Street 25. The leading director of the Theatre is Alvis Hermanis.Both the theatre and A. Hermanis have acquired countless top awards and internationalrecognitions, frequently representing the country in various significant theatre festivals.Daile TheatreThe Daile Theatre was opened in 1920. In 1925 the theatre received the Grand Prix andDiplome d’Honneur at the International Decorative Arts Exhibition in Paris. In Soviet times,it achieved numerous awards at the drama festivals of various countries. Alongside variousperformances, concerts and social events also take place in the theatre; in 2006 itwas the home of events organised by NGO’s at the NATO Summit in Riga.New Riga TheatreSmall GuildDaile Theatre160 161

Mikhail Chekhov Riga Russian TheatreMikhail Chekhov Riga Russian Theatre, the oldest Russian dramatic theatre beyond theRussian borders, was opened on 2 nd October, 1883. It marked its 120 th anniversary witha unique international project – a performance of Chekhov’s play “The Seagull”, stagedby world famous German director, Peter Stein, together with the Edinburgh InternationalFestival. The 2004/2005 season was opened with a double premiere – the performanceof “Whose Afraid of Virginia Woolf?” in Russian and Latvian directed by Roman Kozak,based on the play by Edward Albee. This unusual bilingual project became part of thecultural integration programme, developed by the theatre. In 2010, reconstruction of thetheatre will finish, turning it into a multifunctional theatre building.Streetball competitions are also organised in the park, as well as dance and rappercompetitions and other street culture campaigns.Station SquareStation Square is crossed by thousands of people every day, crossing it on the way fromthe station past the department stores and on to the city centre, and back again in theevening. For over several years now Station Square has become a successful locationfor the International Baltic Ballet Festival activities, bringing classical and contemporarydance art closer to the city dweller. Similarly, other cultural activities frequently take placein the square.Riga Congress HallGalerija CentrsRiga Congress HallRiga Congress Hall was historically built as a congress and conference centre for theneeds of the Communist Party. In 1988 the founding congress of the Latvian NationalFront took place in Riga Congress Hall (then the Political Education building), where forthe first time the opinion that the Soviet Union had occupied Latvia was voiced out loud.In 2000 it was rebuilt and new rooms were added to the 1200-seat conference hall. RigaCongress Hall is located at the heart of the city – in the administrative and cultural centre– in the vicinity of the embassy and Jugendstil area. In 2008, 400 event organiserschose Riga Congress Hall as a high quality venue and 200,000 visitors attended variousevents.Galerija Centrs is one of the most historically significant buildings in Riga, which hasbeen successfully operating as an active trading place since 1938. Throughout changingtimes, this shopping venue has always maintained its unique status as a symbol ofRiga’s social life. After ample reconstruction in 2006, Galerija Centrs has become anelegant and contemporary gallery for fashion goods in the capital city, which assemblesfans of active and modern life. Gallery is well-known for its desire to host various culturalprojects in its premises, including support for charity campaigns, for example, togetherwith musicians providing the opportunity for children in Latvian orphanages to go oneducational trips to the world’s historical and cultural capitals.Galerija CentrsCultural Centre ZiemeļblāzmaLatgale Suburb Multifunctional Culture and Art CentreCultural Centre ZiemeļblāzmaThe founder of the sawing mill in Vecmīlgrāvis and developer of cultural life, AugustsDombrovskis (1845–1927), first built Ziemeļblāzma in 1904 as a house for the TemperanceSociety, but in 1906, the Tsar’s punitive expedition burnt it down. From 1910 to 1913 thepresent building was built, and became a significant cultural centre – home of a semiprofessionaltheatre, choir and symphonic orchestra, and location for various exhibitionsand lectures. In 1908, a new tradition was established – to organise a Children’s Festivalin early summer, and this did not stop even during the 1 st World War, when the festivalswere organised by permission of the City Superintendent. Shortly before Soviet occupation,a film studio started operating there, created by donations and city funds, whichcontinued to work right up to 1956, when Riga Film Studio was opened in Šmerlis. Threedance groups and choirs and a brass band use the premises which are also rentedby two sport clubs. Ziemeļblāzma is located at the top of the list of city buildings to berestored, due to its poor condition. The surroundings have been tended, improving thehistorical park and playground.Grīziņkalns Skateboarding ParkThe skateboarding park at Grīziņkalns is popular with active young people whose passionis BMX, skateboarding and extreme rollerblading competitions. Youngsters havethemselves participated in improving the skateboarding park, making it more appealingand modern. Every day, young people have the opportunity to practice their skills aswell as watch model demonstrations by experienced rollerbladers and skateboarders.The Latgale suburb in Riga does not currently have a cultural centre and therefore thesuburb’s Multifunctional Culture and Art Centre is intended to ensure accessibility toculture. It is planned to put the project into service in summer 2010. Two transformablehalls with 100 and 600 seats are planned for the multifunctional centre, rooms for traditionalart groups, children’s artistic amateur and educational hobby groups. It is alsoenvisaged to house a contemporary branch of Riga Central Library there, with spaciousreading rooms, special sections for children and youth, space for different events andactivities and for a bibliographical source collection. The “Park & Ride” car park will alsobe the first project of its kind in Latvia. It is planned to implement the project gradually,envisaging space for 1000 to 1200 cars. To ensure integral development of the territory,a park and a square will also be created.Other Cultural Centres of RigaOverall, there are 7 cultural centres under the remit of the City of Riga, located in variousparts of the city, each with its specific cultural functions. Various amateur group rehearsalsand different generation hobby group meetings take place in the cultural centres,and many of the concerts are free of charge in accordance with the City’s implementedcultural policy. Professional theatre performances also take place in VEF Culture Palace,which is also currently hosting Mikhail Chekhov Riga Russian Theatre. Professional artistsalso perform at other centres such as Iļģuciems and Imanta.Latgale Suburb Multifunctional Cultureand Art Centre162 163

VEF Culture PalaceDzintari Concert Hall in JūrmalaNot far from Riga, on the sea coast, is Jūrmala, a historic resort town, and one of itscalling cards is the Dzintari Concert Hall. The story of the Concert Hall starts as far backas the late 19 th century, and its construction was initiated by the Swimming Society ofthe time – a non-governmental association that was concerned about various mattersregarding the town’s maintenance. Dzintari Concert Hall was built as one of the firstopen-type concert halls and its acoustic and constructive solution is one of the bestachievements in this sector. The open side edges allow the space to interact with the surroundinglandscape of Jūrmala dune park. There are 2024 seats in the Large Hall, and arestaurant with approximately 200 seats. During the history of the Concert Hall, variousfamous European musicians, circus artists and theatres have performed here. The mostpopular annual events today include the international festival “Summertime”, organisedby the world known Riga opera singer, Inese Galante, the international new singer competition“New Wave”, symphonic, contemporary music and youth concerts.Riga’s Cooperation Partner Town SiguldaTomass and Martins Dukurs, are well-known skeleton athletes. In cooperation with theLatvian Olympic movement, in 2014, the 3 rd Latvian Winter Olympics will take place withwide inhabitant participation.Gūtmanis CaveGūtmanis Cave is the largest sandstone cave in the Baltics. Its formation began 10 000years ago, with the water currents eroding the sandstone cliff following the Ice Age. Anancient cult location. A protected geological object. Cave height – 10m, width – 12m,depth – 18,8m. Also notable for its inscriptions on the walls, that have been created morethan 200 years ago. There are several tales and legends linked to the Cave. The mostwell-known legend is a romantic and tragic tale of Rose of Turaida.Gūtmanis CaveTuraidaThe museum reserve of Turaida is a territory measuring 42 hectares, in which 11 th -20 thcentury monuments to nature, history, archaeology and culture can be found: the medievalcastle of Turaida with exhibitions, the Lutheran Church, built in 1750, a commemorativesite to Rose of Turaida, Dainu Hill – an exhibition of 26 sculptures dedicated toLatvian folk songs, the household centre of Turaida Manor, Jāņkalns (Midsummer Hill).In 2014, summer solstice events will take place here, and a campaign dedicated to the800 th anniversary of Turaida Castle, “Living Pictures”.Sigulda Castle RuinsDzintari Concert Hall in JūrmalaThe open-air stage of Sigulda was chosen as a venue for events with the intention of creatinga particularly vivid and relaxed atmosphere. The open-air stage among the castleruins is the most beautiful open-air stage in Latvia, where the Latvian Theatre Festivaland Opera Music Festival, together with the vibrant nature of the ancient valley of theRiver Gauja, will provide spectators and listeners with moments of unique cultural pleasure,spiritual rebirth, peace and harmony. High-quality music, performed by artists withworld renown, with the vibrant and romantic natural backdrop of the ancient valley of theGauja, sounds unique.Sigulda Bobsleigh and Toboggan TrackTrack was built in 1986 after a project elaborated by Leipzig Scientific Centre for Sport.The origins of the bobsleigh in Latvia can be found in Sigulda in the late 19 th century, whenthe owner of Sigulda Manor, Grand Duke, Nikolai Kropotkin built the first 900m long bobsleightrack with one curve. Today, it is one of 17 bobsleigh tracks in the world, measuring1200 metres long, with 16 curves and a maximum speed of 125 km/h. A large-scaleinternational competition takes place on the Track – the World Cup in TobogganingSports. Many Latvian bobsleigh and toboggan drivers come from Sigulda. The brothers,164 165

166riga’scommunicationstrategy

July–September• Song Celebration of Children and Young Adults – addressingaudiences of young adults and children, the popularisation of theKult[rix] brand in the specified audiences.October–December• Activation of the basic values of Kult[rix] and the basic elementsof the 2014 concept via projects in the preparatory periodand their communication campaigns.2011• Activation of the basic values of Kult[rix] and the basic elementsof the 2014 concept via projects in the preparatory periodand their communication campaigns.• International activities in the promotion of the Riga ideas(conferences, cooperation partner networks, activities via Latvianembassies, cooperation with Latvians living abroad).2012• Continuation of activities, started in 2011• Initiation of individual ECC2014 projects, promotion of theKult[rix] brand through these, including the European Biennale forContemporary Art Manifesta (tbc).• International activities in promoting Riga as ECC (conferences,cooperation partner networks, activities via the Latvian embassies,cooperation with Latvians living abroad).2013• Publicity campaign for the Force Majeure programme conceptand principal themes in Latvia and abroad.• Initiation of indivdual ECC2014 projects, promotion of theKult[rix] brand through these, including Song and Dance Celebration,Tall Ships Races (tbc).• Marketing activities.• Social advertisements.• PR about upcoming activities for the European Capital of Culture.• Communication of the Kult[rix] and Force Majeure brand andslogan within the framework of the Latvian Song and Dance Celebration,reaching a wide audience of Latvian inhabitants and foreignvisitors.2014 Stage 3:Comprehensive communication campaign about ECC events.A detailed plan to be developed based on the plan of actualevents.2015• Repeated survey about cultural understanding in Latvian society,changes after 2014, benefits from the organisation of ayear-long programme, measuring the communication objectivesachieved.• Creation of links with the next ECC cities, experience handover,“Amber Route” projects.Proposed resources for the implementation of information andpublicity events Included in the financial appendix of the book.Management and surveillanceof the communication processThe communication process, including media relations, areplanned and coordinated by the ECC Office:• plan media activities.• coordinate PR activities of the involved partner institutionsand ensure that the partner institutions inform the ManagementGroup about their plans in time, ensuring internal communicationby regular newsletters, direct contacts and regular planning meetings;• determine guidelines for the use of the logo and slogan, andcontrol implementation.Potential threats and crisis communicationThe Project Management Group must be prepared for several potentialsources of risk:1. The potential change of political power on local and nationallevel, and a potentially poor interest in the cultural project or overtlydominant political intervention attempts regarding project implementation:• Riga City Council will change twice during the project period(local government elections in June 2009 and June 2013);• National parliamentary elections – Autumn 2010, Autumn 2014.To ensure stability in case of crisis, it is intended to develop andmaintain close contact with the Chancery of the President ofLatvia. Although, there is the potential for the President of Latviato change during the project period (elections for the Presidentof Latvia are anticipated in the Latvian parliament in mid-2011),according to the Constitution of Latvia, the President does notrepresent any political power. Taking into account the authority ofthe presidency in Latvian society, this institution may be a powerfulopinion leader in matters affecting the significance of the ECCstatus for the country and society, as well as for the internationalimage of the country.Latvia’s representation in European Union institutions is anotherpolitical communication tool that it is planned to use. TheEuropean Parliament (EP) elections, due to take place in mid-2013, provide the opportunity for Latvian EP deputy candidates(after the elections – the deputies) to position matters concerningthis project, which is significant for Riga, Latvia and Europe, onthe agenda. An equally influential tool in the creation of the Latvianpolitical agenda relating to the successful planning and implementationof the ECC2014 project, is active dialogue with EuropeanCommission representatives and with events created togetherwith the European Commission Representation for leading politicaland social opinion-makers about the significance of ECC.2. Risk of financial difficulties for the project.In light of the global economic crisis of 2009, and financial burdenfaced by Latvia, the government is aiming towards a 20–40% reduction in the budget, and this will also affect the city’sfinancial planning and budgetary expenses in various sectors.In order that the Project Management Group may react with flexibilityto changes in the project budget dictated by external conditionsand to maintain the national significance and prestige ofECC, analysis of the experiences of Vilnius ECC 2009, Lincas ECC2009 and the planned ECC cities for 2010 is proposed in Stage 2,i.e. 2010–2013, and based on this, establish communication withthe project partners in Riga and Latvia to create an action plan forcrisis situations. Cultural operators and NGO’s will have significantroles in the development of the action plan, and their involvementin decision making may help to reduce the potential tension duringthe project implementation. The Latvian public will be informedabout the action plan developed by the city, using the project sitewww.Kult[rix].lv and mass media, as well as the European Commission,the ECC city network, Riga’s partnership towns and othercooperation networks in Latvia and abroad. The support of theEuropean Commission in developing the project, which enforcesthe prestige of the project in society, should be highlighted.3. Tension created by operators not involved in the project, aswell as project opponents.During the implementation of such projects, there is a strong riskof opposition. The main arguments are usually connected to theuse of tax payers’ money; for example, in economically difficulttimes, Riga is spending money on ‘entertainment, not bread’, orother topics relevant to society at the respective period of time.To reduce such potential tension, it is important to maintain regularcommunication with leading opinion-makers, ensure that theProject Management Group maintains a transparent decisionmakingprocess, its activities are explained to the general publicand it works towards the creation of a unified image of the project,emphasising the significance of culture for various economic sectorsand the economy overall. A database of cultural operators andpotential cooperation partners for the project has already been developed;discussions with representatives from the most influentialmass media are underway regarding the project aims, and a widecircle of cultural operators, NGO’s and leading opinion-makers areinvolved in project preparation. Similarly, professionals with experiencein managing large-scale projects of national significance,and institutions, with a positive public image, are involved in theproject. Pro-active discussions in the public space and with themain target audiences about potentially sensitive issues will avoidthe escalation, or even occurance, of tension.170 171

ecc yearorganisationECC OfficeTo ensure administration of the project, anECC office will be created in Riga Council’sDepartment of Culture (RC DC). Riga Council’sDepartment of Culture is responsible forthe implementation of Riga’s cultural strategy,co-ordinating structures involved and supervisingthe implementation of the strategy. Atthe same time, the DC is a structure with manyyears of vast experience in organising eventson a grand scale: the annual Riga Festival,annual European “White Nights“ in Riga, Europeantraditional art and culture forum “Europeade”in 2004, co-organiser in the largest nationallevel cultural event, the Song and DanceCelebration (39,000 participants), the “Festivalof Light” (new long-term initiative in 2008)and others. RC DC is also responsible for citydesign. RC DC is the organisation in the city ofRiga whom Riga Council has tasked with securinginternational cultural connections andimplementing international projects, in creatingthe image of Riga. Taking the aforementionedinto account, the creation of the ECCoffice, as the principal process managementstructure, in the RC DC is a logical step.The ECC office functions will include:• preparation of all documentation required for the ECC nominationprocess;• contact with the European Commission, especially during thesurveillance phase;• organisation of competitions and selections as necessary;• operation of financial flow;• supervision of implementation process of the infrastructuredevelopment projectsECC Artistic CouncilTo ensure the development of an independent concept of culturalevents for the programme for the European Capital of Cultureyear, an ECC Artistic Council will be created. The Council will be incharge of the programme composition and its implementation. Itsstructure will include 3 directors (Artistic Director, Programme Director,Communications and Marketing Director), who will be chosenby way of selection process, as well as independent expertsin professional fields according to the specifics of the composedprogramme. RC DC envisages that the fulfilment of event organisationfunctions will be carried out by both physical (individual)and legal persons.The Artistic Director’s task will be to develop a programme that reflectsthe guidelines of the drafted application. The Artistic Directorwill recommend and the Artistic Council will determine the criteriafor inviting artists and project implementers. Technically, selectionprocedures will be carried out by RC DC, which has many years ofpositive experience, regularly advertising for project applicationsfor the division of city budget resources for the implementation ofcreative cultural projects.The Artistic director will be selected in 2009. Criteria for selectingthe Artistic director:• in-depth knowledge of current trends in the Latvian and Europeancultural field;• ability to analyse and justify opinions about topical culturalprocesses and events;• interdisciplinary and social vision about society processes;• experience in management positions or process management;• foreign language skills and experience in international cooperation.ECC Supervision CommitteeThe ECC Supervision Committee will include representativesfrom all the institutions involved in ECC (Ministry of Culture, RigaCouncil, regional cooperation partners, support committee managementetc.). Sigulda Regional Council has officially declared itswillingness to cooperate with the city of Riga in the organisation ofthe European Capital of Culture year. Its chosen representative willbe included in the Supervisory Committee.The tasks of the Supervisory Committee are to:• monitor the progress of the project preparation and implementation;• perform the monitoring of finances;• resolve all strategic management matters.Organisational structure of Project Riga – the European Capital ofCulture included in the appendix of the book.172 173

DimensionPrioritiesInfrastructure of the CityHow accessible is Riga on a local, national and internationallevel?information provision and service quality management, using the“BalticLines” system.Rail trafficD1: The development of an educated, proficient societythat respects culture.P1: Access to culture for all Riga inhabitants.P2: The role of education and lifelong learning in promoting thecreation of new work and employment.P3: The role of culture in bringing together individuals andcommunities.D2: Creative diversity. P1: Support and investment for structures (institutions, industries,organisations) that ensure cultural and artistic processes,absorb and multiply the creative potential of Riga.P2: Support and investment in the creation of ‘cultural quarters’that are inexhaustible sources for the creation of new work andeconomic potential.D3: Creation of a quality cultural environment. P1: A balanced distribution of culture throughout the capital city,not just a limited number of specific locations.P2: Exploration and maximisation of the potential of public placesin the city.P3: Attraction of investment and new creative potential (inc. humanresources) to the city’s cultural institutions.D4: Targeted and effective planning. P1: A flexible model of cultural financing that corresponds withRiga’s changeable demography, is able to react to city developmentand is coordinated with the city’s common budgetsections.P2: Maximum economic gain from the cultural industries concentratedin the capital and creative potential.P3: Riga as an international cultural centre and destination pointfor cultural tourism.Appendix – City cultural development dimensions included in “Riga’s cultural strategy 2008–2025”Air trafficLatvia has several airports the biggest of which is the InternationalAirport “Riga”. The towns of Liepāja, Venstpils and Daugavpilshave smaller airports.Airport “Riga” is ten kilometres from the city centre. Airport connectionsare provided by buses, mini-buses and taxis.The trip by taxi from Riga Airport to the city centre takes about 15minutes.International Airport “Riga” is the largest international air trafficnetwork in the Baltics and it continues to develop.In 2007, airport “Riga” served 3.16 million passengers, whichis 26.7 % more than in 2006. The airports of Tallinn and Vilniusserved 1.7 million passengers each in 2007, therefore last yearairport “Riga” served 92 % of the total of passengers served byTallinn and Vilnius.At the moment it is possible to fly to 60 direct destinations fromRiga airport.18 airline companies currently operate in airport “Riga”.Latvia’s national airline “AirBaltic” offers flights to all majorEuropean cities, as well as to the Far East and the USA.“AirBaltic” also has local flights from Riga to Liepāja andVentspils.Roads and bus trafficLatvia has a well developed road network, whose connectionswith neighbouring countries ensure road transportation in any direction.Financing in the road sector is growing every year and, asa result, the quality of the roads has visibly improved.Regular bus transport movement is ensured between Riga andLatvia’s largest towns. Travel from Riga to Liepāja, the furthesttown to the west of the country and Daugavpils, the town furthesteast, takes about three and a half hours.It is possible to travel by bus from Riga to Europe’s largest cities.These routes are provided by the passenger bus companies“Eurolines” and “Ecolines”.Riga International Bus Station is the largest passenger bus servicepoint in the Baltics. The joint-stock company “Riga InternationalBus Station” has had a quality management system in placefor over three years, which is successfully maintained and developed.“Riga International Bus Station” is a part of the Europeanpassenger bus network, ensuring a broad variety of services,Regular passenger rail traffic between Latvia’s largest towns andwithin the Riga region is ensured.There are also several international routes, for example, from Rigato Vilnius, Moscow, St. Petersburg, Truskavec, and Simferopol.Ferry trafficRegular ferry traffic from the ports of Riga and Ventspils is available,travelling to Swedish and German towns.Public transportRegular public transport movement is ensured in Riga and Latvia’slargest towns (buses, trolley-buses, trams, mini-buses).How many tourists can Riga provide with accommodation?Central statistical bureau data, 2007Type ofNumber of establishments Number of bedsestablishment (end of the year) (end of the year)Total 99 11329Hotels 72 9432Guest houses 13 447Motels 2 61Tourism andrecreation centres 1 12Youth hostels 10 1157Camp-sites 1 220Number of establishments Number of beds(end of the year) (end of the year)Total 72 9432***** 4 892**** 9 3036*** 28 2659** 1 60* 4 438none 26 2347176 177

applicationpreparationprocessWhen preparing Riga’s application forthe status of European Capital of Culture2014, the Department of Culture used anopen approach, with methods that providethe opportunity of integrating theopinions, interests and requirements ofplayers of various cultural fields into theapplication.Preparation of the application was entrustedto a task group formed especially for thispurpose, composed of professionals ableto analyse and take a general overview ofthe cultural field in the broadest sense ofthe word, in a narrow professional sense,and in connection with other fields, as envisagedby the principal conditions of theapplication.The first phase analysed surveys thatserved as one of the sources for the developmentof the application. In creatingthe application the following surveys weretaken into account; survey carried out bythe “Analytical Research and StrategicLaboratory Ltd” – “Lifestyle and values ofRiga inhabitants in 2015”; surveys requestedby the Ministry of Culture – “Researchand monitoring of Latvia’s creative diversityprocesses”; “Research and monitoringof the creative industry market”; “Culturalprocesses in the regions and their effecton development”; “The educational effectof culture and its effect on the developmentof a knowledge-based society in Latvia”;research centre SKDS surveys carried out for Riga Council on theopinions of Riga inhabitants regarding the field of culture, the overallconditions of the quality of life in Riga.During the course of preparing the application, interviews, interdisciplinaryand cultural expert focus groups were organised, as wellas other methods used. The opinions of focus group participantsare used in the content of the application as additional justificationfor the principles proposed in the concept.A serious and important preparatory phase involved informing andaddressing Riga’s international cooperation partners in case of furthercooperation developing, should Riga be chosen as EuropeanCapital of Culture 2014.As Riga has many partnership towns, they were informed of Riga’sinitiative and readiness to become a European Capital of Culture.The governors of many cities have expressed their support for Riga,as well as confirmed their keenness to cooperate and respond tovarious Riga initiatives.At the annual General Assembly of the Association of Capitals ofthe European Union in Dublin, October 13–15, 2008, the governingbody of Riga Council informed the Mayors of European Unioncapital cities about Riga’s conceptual proposal for the status ofEuropean Capital of Culture. Up to 1 st November of this year, Rigahas already received letters of support for Riga’s candidature from17 European capital cities.At the “EUROCITIES” cultural forum, where the issue of EuropeanCapitals of Culture is in focus, the city of Riga heads one of fourforum subgroups with the title “Cultural Access and Entitlement”.The group includes representatives from Dublin, Krakow, Berlin,Vilnius, Leipzig, Goteborg, Warsaw, Lublin, Bergen, Nottingham,Birmingham, Geneva, Malmo, Edinburgh, Turku, Antwerp, Prague,Bordeaux, Dortmund, Helsinki and Tallinn. Riga has presented thebasic principles of its application and proposed launching the developmentof a common people to people project, to gather informationabout common and differing interests of the inhabitants ofparticipating cities, to promote city cooperation at the level of itsinhabitants.Riga has submitted information about nominating its candidatureand cooperation proposal to all international institutions, in whichRiga is represented, for example, informal cultural network partnersof the European “White Nights” (Paris, Rome, Brussels, Madrid,Bucharest, Valletta) and the network of world gastronomy citiesDelice.On the website www.kultrix.lv, which was created this year, everyresident of the city was called on to contribute their comments asto what kind of events they would like to see taking place in Rigain 2014.cooperationIn the elaboration of the application the working group engaged amaximum broad circle of cultural organisations, providers of culture-relatedservices and cultural workers who responsively cooperatedin generating ideas for events. The Cultural Department ofRiga City Council has launched a long-term cooperation strategy,both through holding contests of project ideas, through distributionof funds in open competitions and through applications for financingwithin the special-purpose-programme for festivals, ensuringthe possibility for all interested cultural bodies and individual culturalworkers on a voluntary basis to take part in the implementationof the strategic directions of culture that the city has set and inthe putting into practice of artistic concepts of events. The CulturalDepartment has adopted the approach of the de-centralisation ofculture, separating administration from the cultural process, in thisway abstaining from direct involvement in development processesand implementation of projects while providing a financial andadministrative support. Such approach has generated trust in theparticipants of the cultural process and made fruitful co-operationpossible.In the elaboration of Riga’s application the working group reposedon the key principles of Kult[rix], engaging representatives of differentfields and encouraging cooperation among cultural institutionsand other partners to assert the importance of creativity inthe facilitation of the development of any field. The role of theseinstitutions in the developing of projects that reveal the interactionof different fields cannot be overestimated. Such broad partnershipis a challenge to create a site for provoking creative solutions forthe programme of Riga as the Cultural Capital of Europe.By calling on NGOs to cooperate Riga aimed at encouraging andstrengthening their capacity and ability independently and in along-term perspective to carry out concrete cultural functions.Different academic institutions are regarded as the key cooperationpartners in the future when they will be engaged in the phaseof the preparation of the ECC year purposefully to ensure the monitoringand analysis of ongoing processes, provide research-basedforecasts and evaluate the results.178 179

iga’s 2014 ecc projecttask groupgints grūbe | solvita krese | ieva stare | diāna čivle | egils mednis | aiva rozenberga180

iga’s 2014 ecc projecttask groupDiāna Čivle, member of the task group, M. A. soc. sc., musicologist.She first studied cultural management at the Marcel HicterFoundation in Brussels, Belgium, completed a musicology studyprogramme at the Latvian Academy of Music and a public leadershipprogramme at the Faculty of Economics of the Universityof Latvia. She is currently continuing her doctoral studies at theFaculty of Economics and Management. She has previouslyworked as a press advisor for the mayor of Riga. From 1997 to2001, she was the deputy director of Aģentūra Rīga 800, which,over a four-year period, organized Riga’s immensely successful800 th anniversary celebrations in 2001. She has worked as the directorof the Riga City Council’s Department of Culture since 2002and has led the preparation of several major event programmesin Riga, including Eurovision 2003, Europeade 2004, and the culturalprogramme during the World Ice Hockey Championship in2006. She also helped to organize Latvia’s song and dance festivalsin 2003 and 2008. She currently heads the artistic councilfor Riga’s annual city celebrations and was the artistic conceptauthor of the “Radiant Riga” (Staro Rīga) light festival. She alsoheads the Culture Accessibility and Entitlement task group of theEUROCITIES cultural forum.Gints Grūbe, member of the task group. M. A. pol. sc., publicist,political scientist, movie director. He studied philosophy andpolitical science at the University of Latvia and the University ofBonn in Germany, as well as communications sciences at theFree University of Berlin. He has more than 15 years of work experiencewith various mass media. At the beginning of the 1990s, heworked as an editor at the Latvian newspaper Atmoda and tookpart in the founding of another newspaper, Nakts. He has taughtPolitical culture and participation to social science students at theUniversity of Latvia. For eight years, he hosted an interview showentitled Vakara intervija on Latvia’s national television networkand has received several National Radio and Television Councilawards. In 2000, he founded his own film studio Mistrus Media.He has also directed and written the screenplays for several documentaryfilms. He regularly publishes articles in the Latvian dailynewspaper Diena, the Latvian magazine Rīgas Laiks, as well asthe Latvian internet portals Delfi and www.politika.lv. He is currentlyworking on documentary films about the Latvian-born philosopherIsaiah Berlin and the Latvian theatre director Alvis Hermanis.Solvita Krese, member of the task group. M. A. art., art critic andart exhibition curator with many years of international experience.After graduating from the art sciences department of the LatvianAcademy of Art, she studied cultural management at the MarcelHicter Foundation in Brussels, Belgium. She is currently writing herdoctoral thesis on art and its context and has been heading Latvia’sContemporary Arts Centre (Laikmetīgās mākslas centrs) since2000. As an art exhibition curator, she organized several largescaleinternational art projects, including Robežpārkāpēji (Illegalborder crossers), Re:public, Rea-litātes arheoloģija (Archaeologyof reality), Urbanoloģika and Mobilais muzejs (Mobile museum).She has taken part in several study projects about the artprocesses of the 1980s and the non-conformist art scene. Herprofessional interest fields include the relationship between artand the urban environment, art and its socio-political context,as well as gender issues. She has authored numerous articlesfor the Latvian art magazine Studija, the daily newspaper Dienaand various art exhibition and artists’ catalogues. She is also oneof the initiators and founders of the Contemporary Culture NongovernmentalOrganization Association (Laikmetīgās kul-tūrasNevalstisko organizāciju asociācija). Currently she is working ona major international art project entitled “Survival Kit”, which willtake place in Riga this autumn.Egils Mednis, Riga’s ECC task group artist and the graphic designauthor of Riga’s ECC application. B. A. art., artist, owner ofthe company SIA Svešās tehnoloģijas (Foreign technologies, Ltd.).He specializes in various types of graphic design, as well as in thecreation of multimedia, machinima and computer games projects.He formerly taught at the visual communications department ofthe Latvian Academy of Art and was the artistic director at “FilmAngels Studio”. He was the artistic design and decoration authorat several Riga city festivals, including the Riga Light Festival. Hewas also involved in the creation of several publications connectedwith Riga’s 800 th anniversary celebrations in 2001, and otherevents. He has also worked on the design of a number of films.He received the Jury Prize for the film Kuģis (the Ship, 2008) at theNext Generation Machinima Contest in California, USA, as well asthree other awards for best festival film, best independent film andbest direction at the Machinima Filmfestival in New York, USA.Aiva Rozenberga, project manager of Riga’s ECC application. M.A. hum. sc. During her studies at the University of Latvia, shespecialized in Russian literature and cultural history. She workedas a journalist at Latvian Radio, as a special radio correspondentin Estonia, and then in the administrative offices of two Latvianpresidents. From 1999–2007, she worked as the press secretaryand communications service director for Vaira Vīķe-Freiberga,the former President of Latvia. She also worked in the organizinggroup of the Riga NATO summit in 2006, on Vīķe-Freiberga’scampaign for the office of UN Secretary General that same year,as well as on the Latvian President’s campaign to inform the worldabout Latvia’s position regarding the commemoration of the 60 thanniversary of the end of the Second World War, which saw thethree Baltic countries lose their independence and the subjugationof Central and Eastern Europe to communist rule for severaldecades after 1945. In 2007 and 2008, she was the press secretaryof the Latvian Song and Dance Celebration, which tookplace in 2008. She also served as a task group consultant for theRepublic of Latvia’s 90 th anniversary celebrations that same year.In 2007, she completed the Die Zeit Foundation’s Young WorldLeaders study cycle at the Bucerius Summer School on GlobalGovernance.Ieva Stare, project assistant of Riga’s ECC application. B. A. pol.sc. As part of her education, she engaged in international peaceand conflict studies at Uppsala University in Sweden within theframework of a University of Latvia study programme. In 2000, sheworked at the International Film Centre in Riga as the FIPRESCIjury secretary and was on the editorial board of the cataloguethat was issued for the Latvian film forum Arsenāls. From 2001 to2003, she worked as a journalist for the Baltic News Service, reportingon news events concerning Latvia’s foreign and defencepolicies and Latvia’s integration into the European Union. Since2003, her professional activities have been connected with publicrelations. She worked as the press secretary for the pre-referendumleadership group, which had been formed by the Latviangovernment in preparation for Latvia’s accession to the EU; asproject manager at the public relations agency P.R.A.E. public relationsand at “PBN Company-Baltics”. She also worked as headof communications at the Latvian daughter company of the internationalconcern Ragn-Sells. In 2008, she helped to organize thework of the information and press centre for the Latvian Song andDance Celebration.183

cooperationpartnersInternational Short Film Festival 2AnnasInternational Theatre Festival “4+4 Days inMotion” (Czech Republic)Aerodium Latvija, Ltd.UN Development ProgrammeNGO AvantisConcert Organisation AveSolBach Music FoundationInternational Theatre Festival “Baltic Circle”(Helsinki)International Festival of Film Actors “BalticPearl”Social Care Centre for Children PļavniekiSports Society “A2”Bolderāja LibraryInitiative “Bolderāja Group”Bolderāja Music and Art SchoolOpen-Air MuseumString Orchestra Camerata Klaipeda(Lithuania)Social Organisation for Disabled Childrenand Youth Cerību spārniInstitute of Solid State PhysicsDaile TheatreRiga Dance ClubDanish Cultural CentreInstitute of Danish CultureDaugavgrīva Secondary SchoolLatvian Design Information CentreLatvian Design Innovation CentreSociety of Design WorkersDome CathedralRock Group Dzelzs vilksLife Assistance Society Lebenshilfe(Germany)eipcip (Austria)Eco-tourism Information and EducationCentreRecording and Production Company“ERP Music” (Estonia)NGO “e-text+textiles”Exodus festival (Slovenia)Art Foundation Frame (Finland)French Cultural CentreGateirs de Lisboa (Portugal)Gauja National ParkGoethe Institute in RigaHannu Pro, Ltd.Music Agency “The Herman BraunFoundation”International Art Studio Programme Iaspis(Sweden)Estonian Concert AssociationEstonian National Symphony OrchestraEmbassy of Estonia in LatviaFoundation of Industrial HeritageEmbassy of Italy in LatviaIZM (Austria)Production company JARO (Germany)Choir Jauna Muzika (Lithuania)New Music Festival ArēnaAssociations of Young Designers “Tasty”,Rijada and “Directdesign”Youth Military Education Group JungaJāzeps Vītols Music Academy of LatviaJuris Podnieks StudioChain Store JyskFilm Forum ArsenālsCinema RīgaChamber Orchestra Kremerata BalticaCulture Management Centre LauskaCentre of Culture and Creative IndustriesEducationLatvian Centre of Contemporary ArtLatvian Chamber of CraftsLatvian Association of ArchitectsLatvian Museum of ArchitectureLatvian Association of Organic AgricultureLatvian Umbrella Body for DisabilityOrganisations SustentoEntomological Society of LatviaLatvian Folklore SocietyLatvian InstituteLatvian Investment and Development AgencyNew Theatre Institute of LatviaLatvian Composers UnionNational Concert Agency Latvijas KoncertiLatvian Literature CentreArt Academy of LatviaArtists Union of LatviaNational Library of LatviaLatvian National OperaNational Film Centre of LatviaLatvian National Museum of ArtLatvian National Symphony OrchestraLatvian National TheatreLatvian Olympic CommitteeLatvian Institute of Organic SynthesisLatvian Ornithological SocietyAssociation of Latvian Castles, Palaces andManorsLatvian RadioLatvian Radio ChoirLatvian Art Directors ClubWriters’ Union of LatviaAssociation of Hotels and Restaurants ofLatviaLatvian TelevisionUniversity of LatviaInstitute of Literature, Folklore and Art of theUniversity of LatviaFaculty of History and Philosophy of theUniversity of LatviaLatvian Environmental Protection FundScientific Research Centre of LatvianAcademy of MusicArena RigaLentos (Austria)“LGK Group”, Ltd.UK Embassy in LatviaArt Research Laboratory of the LiepājaUniversityLithuanian National Symphony OrchestraLita Beire Dance Art CentreInitiative Programme Literature AcrossFrontiersRiga Group of the Livs AssociationLondon International Theatre Festival “LIFT”Ministry of Foreign Affairs of the Republic ofLatviaMinistry of Economy of the Republic of LatviaMinistry of Education of the Republic ofLatviaMinistry of Culture of the Republic of LatviaCentre of Arts Management and InformationArt Studio Dzeltenā dzeņa ordenisMALBA (Spain)Programme for Ethnic Minorities of LatviaZelta kamoliņšMencendorff’s HouseFilm Studio Mistrus MediaLatvian Modern Dance StudioFoundation for Interdisciplinary CooperationmT15Latvian Modern Dance AssociationModern Dance Information CentreIntangible Cultural Heritage CentreState Agency of Intangible Cultural HeritageFoundation Māras loksEmbassy of Norway in LatviaNUMUSIC festival (Norway, Stavanger)Olaine Society ĀbolītisMultimedia and Poetry Project OrbītaElementary School RīdzeWorld Wildlife FoundationNGO Pasaules mūzika (World Music)World Environment FoundationNGO Latvian Chefs’ ClubMunicipal Agency Riga Monuments AgencyWorld Music Festival PortaRiga Secondary School No. 19Riga Secondary School No. 33Riga Central LibraryRiga Central MarketAdministration of Riga Dome CathedralForeign Affairs Department of Riga CityCouncilEducation, Youth and Sports Department ofRiga City CouncilRiga Education, Information andMethodology CentreRiga Cinema MuseumRiga CircusRiga Choirs LeagueRiga Cultural AgencyRiga Art SpaceRiga Inspection for Cultural HeritageProtectionRiga District Sports Initiatives CentreInternational Music Festival Rīgas RitmiCentre of Interest Groups of Riga SchoolStudents Rīgas Skolēnu pilsMuseum of the History of Riga andNavigationArchitects Office RīgersChain Store RIMIRhythm InstituteElectronic Art and Media Centre RIXCRostock Centre for Children and YouthRundāle PalaceSigulda Concert Hall Baltais flīģelisSigulda Art SchoolSigulda Region CouncilDevelopment Department of Sigulda RegionCouncilCulture Department of Sigulda RegionCouncilSocial Department of Sigulda Region CouncilSports and Tourism Department of SiguldaRegion CouncilSigulda Opera Music FestivalSynergy FoundationFestival of Experimental Music Skaņu mežsSlow Food Movement LatviaEmbassy of Spain in LatviaMunich Theatre Festival Spielart (Germany)SpongeArteContemporanea (Italy)Interdisciplinary Art Group SerdeInternational Writers and Translators House inVentspilsInternational Centre of Cinema (Latvia)International Theatre Festival Divadelna Nitra(Slovakia)Centre for Creative Learning Annas 2Transmediale festival (Germany)Turaida Museum ReserveEvent Production Company Untitled LtdEmbassy of Germany in LatviaState Choir LatvijaState Culture Capital FoundationWarsaw Theatre Festival (Poland)Health Care Centre PļavniekiEnvironmental Documentaries Studio Videsfilmu studijaAssociation Viena Diena.LV (One Day InLatvia)Viļāni Society SaulstariņšVirtual Studio UrgaEvent Technical Production CompanyX-aģentūraNational Art Gallery Zachenta (Poland)Office of Nordic Council of MinistersNordic Information CentreCentre for Art and Media ZKM (Germany)Embassy of Sweden in Latvia184 185

specialthanksAigars BikšeAina KalnciemaAgita IkaunieceAnda KļaviņaAndrejs PildegovičsAndrejs VasiļjevsAndris AkmentiņšAndris EglītisAndris StavroAndris VilksAnda BeitāneAnita RožkalneArtūrs PunteBaiba Buka-VaivadeBaņuta RubesaBrigita RozenbrikaBrigita StrodaDace Kristiāna ŪdreDaiga LivčāneDaina VītoliņaDaina ZalāneDarja ŅevskaDāvis StaltsDiāna BriežkalnsDina VīksnaDita Erna SīleDoloresa VeilandeDzidra ŠmitaDzintris KolātsEdgars KotsEdvīns LiepiņšElīna KuzjukēvičaElita KuzmaErvins LabanovskisEva EihmaneGita LancereGunda VaivodeGundega LaiviņaGundega RepšeGundega ŠmiteGunta MalēvicaGuntars ĶirsisGuntars RuskulsGuntis HelmanisGvido PrincisHelmī StalteIeva KolmaneIeva MuižnieceIeva VītolaIlga ReiznieceIlga TiknuseIlmārs ZnotiņšIlona CelmiņaIlze Biruta LozeIlze Gailīte-HolmbergaIlze MartinsoneInese BaranovskaInese MatjušonokaInese PētersoneInese ZandereInga BodnarjukaInga CerbuleInga ĻašenkoInga UldriķeInga VasiļjevaInna DavidovaInts TeterovskisIrina ViņņikaIrina ŽuravļovaIveta ElsoneJānis BirksJānis BorgsJānis DripeJānis KleperisJānis MažeiksJānis OgaJolanta BorīteJulgī StalteJuris VaivodsJuris ZalānsKārlis FreibergsKaspars PutniņšKaspars ZvīgulisKrista BurāneKristaps LiepiņšKristīne LiepiņaKristīne MatīsaKristīne RunceLīga GaisaLilita EglīteLita BeirisMāra KalniņšMāra LāceMāra MarnauzaMāra VilciņaMarats SamauskisMārcis GulbisMarina LipčenkoMāris OšlejsMāris SirmaisMārtiņš BondarsMārtiņš RītiņšMārtiņš RudzītisNatālija ŠromaOjārs KalniņšOjārs RubenisOskars RedbergsPauls BankovskisPēteris CedriņšRaimonds MelderisRaitis ŠmitsRoberts RemessRolands LappuķeRolands PuhovsRuta StepiņaRuta SvažaSanda KatkevičaSandra JakušonokaSarma FreibergaSarmīte ĒlerteSarmīte PīkaSelga LaizāneSigne PucenaSilvija ZaķeSonora BrokaTālis TisenkopfsUģis BrikmanisUģis PrauliņšUģis RotbergsUldis CekulsVaira Vīķe-FreibergaVenu DhupaViestarts GailītisViktors BulsVineta SavickaVladimirs JakušonoksVladislavs SaveļjevsVoldemārs EihenbaumsZanda ĶergalveZane MālnieceZane ŠmiteZigurds ZaķisZinta UskaleŽaneta Ozoliņa186 187

Editor-in-cief – Anita RožkalneDesign – Egils MednisTexts – Diāna Čivle, Gints Grūbe, Solvita Krese, Gundega Repše, Aiva RozenbergaSiguldas programma – Jolanta BorīteTranslation – Liāna Beņķe, Pēteris Cedriņš, Vanda Dauksta, Eva Eihmane, Kārlis Freibergs,Līvija Uskale, Zinta UskalePhoto editor – Ilmārs ZnotiņšPhotographs – Vilnis Auziņš, Igors Baruļins, Ivars Beitāns, Ēriks Biters, Ēriks Božis, JānisBuivids, Diāna Čivle, Gunārs Dukšte, Gunārs Janaitis, Valters Kiršteins, Joe Klamar, DiānaKondratenko, Viesturs Koziols, Solvita Krese, Andris Krieviņš, Jānis Lazdāns, Aivars Liepiņš,Alberts Linarts, Aiva Rozenberga, Anita Rožkalne, Ieva Stare, Viktors Veļikžaņins, MārtiņšZīverts, Ilmārs ZnotiņšPhotoreproductions from personal archivesLayout – Jānis IndānsPrinted on paper Arctic Volume Whitepost scriptumoxo

RīgaRīgaoxoRīgaRīga

p.p.s.v