bluuebunny/crossref_metadata_2025_split huggingface dataset:
Rakendusantropoloogia perspektiividest - ülevaade Euroopa sotsiaalantropoloogide konverentsist / Perspectives of applied anthropology an overview of the European Social Anthropologists' Conference
Authors: Uibu Marko 
Published: April 2022

University of Tartu doctoral candidate Marko Uibu provides an overview of topic and development problems in modern applied anthropology on the basis of a conference of European social anthropologists held in Tallinn in summer 2014. The goal for applied anthropologists is to find solutions to specific problems by getting to know a phenomenon or group through comprehensive field work. Anthropologists can use their skills in very different fields, such as product development, seeking solutions to social problems or documenting fading traditions and helping them endure. The Tallinn conference mainly presented research aimed at resolving and/or raising awareness of social problems. The meeting of European applied anthropologists noted that the discipline was not sufficiently visible in Europe and that it did not receive enough support from universities; anthropologists themselves are cautious about taking applied approaches. Developing a more applied direction would be a reasonable course, however. This would open up new avenues for researchers and allow solutions to be offered for specific questions and social problems.
Keywords: applied anthropology, Anthropology in Europe, EASA biennial conference in Tallinn
Hemp-lime – contemporary usage of traditional materials
Authors: Pau Markus 
Published: April 2022

Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet the practical competence regarding its usage is lacking in Estonia as far as the construction industry is concerned.
Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in a relatively low thermal conductivity, hemp-lime, the composite material made by mixing hemp with lime, is suitablefor insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around the hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness.
The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface, when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations also protects the wooden construction elements surrounded by the hemp-lime, which thus also reduces the risk of moisture and frost damage.
Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of the buildings being put up from 1st January, 2021, should not exceed the limit established for nearly zero-energy buildings. In short, this calls for a more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low.
Keywords: industrial hemp, lime, clay, hemp-lime
On the philosophy of work and tools
Authors: Sisa Kristjan 
Published: April 2022

This article presents the Estonian translation of the book Hammer and Silence. A Short Introduction to the Philosophy of Tools by the Finnish artist andresearcher Jyrki Siukonen.
The topics covered in the book range from observing a tool as such to existential questions about human activity. It is a good guide for anyone with manual dexterity, and of great assistance to the rest who wish to understand them.
The book resembles a literary version of a meticulously detailed sculpture. Jyrki Siukonen presents the sculptor’s viewpoint. The author seems to havesympathy for a person like him: a bricoleur, a DIY enthusiast, a person who works with their hands and who, unlike most craftsmen, never takes the easy way out. The discussion of the relationship between tools and human beings is very enlightening: when do tools serve humans and when are humans at the service of tools? The book also examines the prospect of humanity’s manual and mental development. This discussion culminates in the following question: “What happens if people are offered the possibility of renouncing the selffulfilment they find in doing things with their hands?“ In other words, once the Industrial Revolution has reached its peak – what then?
This essayistic text has been structured into coherent paragraphs. The more the ideas of the book are thrown around, the more well-grounded the book itself is. The focal points of the discussion include visionaries such as Eva Hesse, Constantin Brâncuşi, Auguste Rodin, Antti Hyry, and Ludwig Wittgenstein. The translation into Estonian has been made with pinpoint accuracy. The translator, Jaan Pärnamäe, conveys the details of the source text with great finesse.
Siukonen argues that learning is not only a process of developing innate abilities by imitation. It is something more, something that seeps into a person through birth, space, time, and place; in some instances, this is successful. The author describes the indescribable in the context of human activity and creativity. He examines his topic from several viewpoints until his understanding assumes a clear shape in the readers’ minds.
The text is easier to understand if the reader has had contact with handicraft and creative work beforehand. The book provides a mental reference point for creative minds who express themselves by doing things with their hands now, in the twenty first century.
Thoughts about a book on the folk costumes of Mulgimaa
Authors: Värv Ellen 
Published: April 2022

Tiina Jürgen’s substantial volume The Folk Costumes of Mulgimaa was published in the autumn of 2015, in collaboration with the Estonian Native Crafts Department at the University of Tartu Viljandi Culture Academy and Viljandi Museum.
The numerous books about folk costumes that have been published in the last decade have had different emphases, ranging from parish-level overviews to discussions on the component parts of the costumes (footwear, skirts, etc.).
Collecting information relating to the folk costumes of Mulgimaa – artefacts, photographs, descriptions preserved in the archives – has taken a tremendous amount of work. People fascinated by folk costumes have been rewarded with a delightful book and the extensive collections of the Viljandi Museum have reached the craftsmen. The detailed views of the artefacts, pattern schemes, and illustrations showing the cuts of the clothes are invaluable in helping those who wish to make a national costume for themselves.
The book begins with a brief overview of the history of Mulgimaa by Ain-Andris Vislapuu, followed by a short description of the folk costumes of Mulgimaa by Tiina Jürgen. The bulk of the book has been divided into four large chapters, thus adhering to the principle of parochial division: Halliste, Karksi, Helme, Paistu, and Tarvastu. The discussion on each parish begins with a characterisation of the region and presentation of the distinctive features of local clothing, and is followed by the descriptions of the component parts of the costumes by first concentrating on women’s and then on men’s clothing. Since the information has been scattered across different parishes, seeing the big picture is very difficult. Content related repetitions are to a certain extent mitigated by the excerpts from archival material and captions that are used when describing the component parts of the costumes.
Several sources, for example the references to A. W. Hupel or the materials available at the Estonian Folklore Archives of the Estonian Literary Museum, have been referred to via newer works and therefore the overviews contain some inaccuracies, which could have been avoided if primary sources would have been consulted instead.
Despite some drawbacks, we should celebrate the fact that those skilled in handicraft now have a valuable handbook and an overview of the history of local clothing.
The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman
Authors: Raud Inna 
Published: April 2022

Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes.
The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies.
Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately.
The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon.
It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region.
Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind.
In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.
Handwerk / Kunsthandwerk
Authors: Muthesius Stefan 
Published: April 2022

What is the difference between handicraft (Handwerk) and Arts and Crafts (Kunsthandwerk)? Which is better, craft or mass production? Terms should help us create order in the world around us, so it becomes easier for us to orientate ourselves, but terms are nevertheless always particular to a specific time and place. This essay will present a brief outline of the disciplinary patterns that have shaped the terminology relating to the creation of artefacts, as well as describing Muthesius’s own analysis, before discussing the corresponding terms in Estonian with the help of a few examples.
In the present article, Stefan Muthesius has examined the specialised terminology relating to the creation of artefacts that has been used in the German cultural sphere and has explained the semantic field of each of these terms as shown by their etymology and usage. Rather than making clear distinctions, Muthesius’s approach blurs the lines between art, design, and handicraft and concentrates upon their common features. Furthermore, he illustrates how the terminology of a creative sphere (i.e. art) has, amongst other things, been influenced by economic processes, for example by the commercial price and quality of different types of products. The large number of terms used, especially since the nineteenth century, clearly reflects the changes in both material culture and in society in general.
Kunsthandwerk of post-industrial societies has been greatly influenced by the discourse of modernisation and industrialisation. It was nostalgically and ideologically associated with the era preceding industrialisation and mass culture. The need to redefine oneself gave way to modern applied arts (studio craft) which have artistic ambitions, and at the same time make use of traditional materials and techniques to a greater or lesser extent.
In the post-war Estonian context, it is possible to draw a parallel with the term ‘applied arts’ (tarbekunst in Estonian) that rather declaratively replaced the previously used term, rakenduskunst. During the Soviet period, artists specialising in applied arts created unique objects and limited-edition items, as well as mass-produced designs. In the 1960s, ‘decorative arts’ came to be thought of as a subcategory of applied arts. Nowadays, the relevant semantic field in question is almost completely covered by the umbrella term ‘design’.
The term Handwerk (käsitöö in Estonian) has made a fascinating, yet somewhat peculiar comeback. The term no longer refers to a phenomenon that could be described as primitive and related to folk art and peasant culture, but instead it expresses criticism against neoliberal capitalism: a sense of nostalgia for an honest and fair mode of production. This analysis of terminology related to the creation of artefacts graphically demonstrates how various power relations have shaped this field of activity where tradition, creation, and art intersect with institutional frameworks, economics, politics, and national identities.
Rahvarõiva võlu ja valu / The beauty and pain of folk costumes
Authors: Praks Ele 
Published: April 2022

Last year, Estonian folk costume enthusiasts were blessed with two new comp-rehensive handbooks: a volume on Pärnu County folk costumes published by Saara Publishing House and Pärnu Museum (written by Ülli Kont, Anu Randmaa and Inna Raud, 280 pp), and a volume on Viru County folk costumes published by the Estonian National Museum based on Kersti Loite’s Master’s thesis defended at the University of Tartu Viljandi Culture Academy (415 pp).
Folk costumes have unquestionably been the most striking and distinctive part of Estonian material culture, an integral part of, and a tangible basis for, Estonian identity. Owning, making and wearing folk costumes has been a means of non-violent political struggle and the silent expression of attitude. In a problematic world of blurring borders and increasing lack of variety, we seem to be facing a new eruption in nationalist sentiment, so the appearance of these books is rather symbolic.Both volumes seek to lend a hand to those making and wearing folk costu-mes, and to provide as detailed a picture as possible of the diversity of patterns and styles; in other words – to improve current practices.
The volume on Pärnu folk costumes is dramatic, attractive, and aesthetically well devised, containing diagrams of the patterns used, as well as gripping desc-riptions of the items.
The short foreword and conclusion of Kersti Loite’s book on Viru folk costu-mes also indicate a desire to provide assistance to enthusiasts – this is supported by some diagrams, as well as the sewing patterns included with the book. But Loite’s hefty tome (hefty, in the literal sense) is also a comprehensive study of the museology of the Estonian National Museum, mapping in detail not only all the items and the information available on them but also the collectors, donors, and previous studies.
I would like to hope that in coming years, the alumni of the University of Tartu Viljandi Culture Academy continue to publish works of equal quality on local folk costumes – books that are fascinating and stimulating to read in themselves, but which can also be consulted for creating an authentic, wea-rable, distinctive, yet maximally ‘accurate’ set of clothes. Why the scare quotes? Because someone feeling safe and secure with their heritage should not be afraid of moving on from the nineteenth century. Hopefully, the birthing of the next handbooks will be that much easier, now that these two, with both specific vir-tues and small deficiencies, have paved the way.
Spiral tube decorations on garments: Restoring a lost technique
Authors: Rammo Riina , Ratas Jaana 
Published: April 2022

Spiral tubes made from coiled wire have been used as decorative elements on garments in Estonia for the last thousand years (from the 10th to 19th centuries). Decorations using this technique can be found in both archaeological and ethnographic collections. The tradition documented in Estonia is part of a larger phenomenon that spread across the eastern shores of the Baltic Sea (Finland, Northwestern Russia, Latvia, and Lithuania, in addition to Estonia) from the 6th century AD. Thus far, archaeologists have regarded spiral tube decorations mainly as a source for garment history, and not much attention has been paid to understanding their construction. This article focuses on the techniques used to make spiral tube decorations, from wiredrawing to constructing the ornaments.
The results from metal analysis prove that the main raw materials used in wiredrawing have been copper alloys, with additives being mainly zinc and tin, and in lesser amounts, lead and other elements. Woollen and linen yarn and horsehair have been used as materials for constructing patterns. The woollen yarns used are usually fine and of high quality. Two main techniques used to make the ornaments can be observed: weaving the spiral tubes into a tablet-woven band and the use of various types of braided mesh and bands. When considering this very long period as a whole, it is possible to discern many regional differences both in techniques and pattern combinations. Behind the archaeological examples, makers of different skill levels and with different purposes can be seen, from professional craftsmen to women who made spiral tube decorations at home for personal use.
Keywords: Spiral tube decorations, ancient craft, tabletwoven bands, archaeological textiles
Hemp-lime – contemporary usage of traditional materials
Authors: Pau Markus 
Published: April 2022

Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet practical competence regarding its usage is lacking in Estonia, as far as construction is concerned.´
Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant, or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in relatively low thermal conductivity, hemp lime, the composite material made by mixing hemp with lime, is suitable for insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness.
The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations protects the wooden construction elements surrounded by the hemp-lime, which also reduces the risk of moisture accumulation and frost damage.
Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of buildings constructed from 1st January 2021 should not exceed the limit established for nearly zero-energy buildings. In short, this calls for more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low.
Keywords: industrial hemp, lime, clay, hemp-lime, sustainable building materials
Craft as cultural ecologically located practice. Comparative case studies of textile crafts in Cyprus, Estonia and Peru
Authors: Dillon Patrick , Kokko Sirpa 
Published: April 2022

This paper reports comparative case studies in three countries, Estonia, Cyprus and Peru. Through these, the cultural ecologies of six textile craft practitioners, two in each country, were investigated using interview-based situational analysis. Cultural ecology is concerned with transactional relationships between people and the environments they inhabit. It provides a lens on the processes of continuity and change that shape cultural patterns and cultural traditions. Interviews were conducted in open format around questions about biographical and professional practice. Relationships between practitioners’ personal histories and their craft practices were explored. Outcomes suggest that the cultural ecologies are profoundly shaped by the transmission of customs, beliefs and values from generation to generation which, in turn, are located within a place of social interaction conferring a sense of belonging and an environment for the formation of social identities. These attachments powerfully influence continuity in the craft traditions. The interrelated processes of globalisation and technological development are the dominant agents of change. Responses to these pressures vary with the practitioners in the three countries and are linked to factors associated with cultural resilience.
Keywords: craft practice, cultural ecology, textiles, case studies, Cyprus, Estonia, Peru