Latvian Folk Costumes
By Oleg K. Temple, 2008.
Latvian Folk Costume Review — As of the 22nd All Latvian Song and the 12th Dance Festivals, the Folk Art Centre E. Melngailis renewed the practice of awarding prizes to the best-presented Latvian folk costume.
On November 3, 1997 a panel of judges was selected, from professionals in relevant fields: ethnographers, historians, art scientists, folk costume designers etc. to judge the costumes. The panel of folk costume judges also actively featured in choir and dance group reviews, offering consultations and providing a fuller concept of today's practices in Latvian folk costumes.
The wisdom of the panel spread like ripples in a pond throughout Latvia. Applications for review and consultations flooded in, 36 choirs alone sent in 225 requests seeking the attention of the judges, 61 dance groups and 127 individual authors also wished to be noted.
The finals of the Latvian Folk Costume review of the 22nd All Latvian Song and the 12th Dance Festival took place at the Congress House in Riga, on July 5, 1998. The final review was made at a theatrical performance given by the five nominee groups each consisting of the 20 best participants. The costumes were once more presented in plays with plots closely interwoven with ancient Latvian traditions of solstice celebrations – Harvesting, Christmas, Easter and Midsummer night (Ligo Svetki).
The national costumes vividly echo the rich Latvian history and culture the first seeds of which were sown in the prehistoric era when the Baltic and Finno-Ugric tribes, such as the Curonians, the Semigalians, the Selonians and the Livs, emerged and settled on the territory which is now Latvia.
The design of the various national costumes portrays distinct international ties and cultural influences of the people throughout history. Besides the ethnic origins and aesthetic ideals, several other aspects were incorporated into the composition of the variegated costumes. The designers strove to express the social, material and marital status of the wearer while keeping in sync with fashion. Latvia falls into four ethnographic regions: Kurzeme, Vidzeme (incl. Augzeme), Zemgale, Latgale, each with its unique outfits. Regional variations were most pronounced in the female attire, usually woven form linen or wool on spinning wheel or a weaving loom.
Costumes from Latgale
Regional characteristics
The Vidzeme region covers the north-west and north-east parts of Latvia (Piebalga, Lielvarde, Krustpils, all lie in this region). The skirts are non-pleated and colourfully decorated with a chequered or with evenly spaced stripy pattern and in certain areas of Vidzeme they had an apron-like attachment. "Villaine" shawls were mostly white, but often richly embroidered. Valka, Valmiera and Cesis are some of the towns in Augzeme, the territory which is presently considered a part of Vidzeme. This region had strong ties with Lithuania and this is reflected in their culture and costumes. The skirts are chequered or with light-coloured stripes and "freckled" with special colouring. In Augzeme the apron was an indispensable part of the women's costumes. Latgale, eastern Latvia, covers Daugavpils, Rezekne and Ludza. Skirts were commonly sown of black material with horizontal or vertical stripes of red, green or yellow. Zemgale covers Jelgava, Tukums and Bauska. Skirts with a characteristic colourful design are stripped or chequered, cardigans and sleeveless vests were fastened by amber or silver buttons and plain shawls with a thick, richly embodied hem were widely spread. The Kurzeme outfit (particularly from Nica) is considered by some as the most exquisite of all Latvian costumes, it vividly portrays the majestic beauty of the Latvian culture and is occasionally used to represent Latvia among the costumes of other nations. Women's garments consisted of unique long skirts starting below the chest, worn without a belt usually in red or purple with a wide horizontal hem and a small blouse and a tight black or green, sleeveless jacket adorned with colourful embroidery. Over the attire women wore the dark blue plaid "mellene" (lit. blueberry) or woollen pleated "villaine" shawls with large silver or bronze sequinned "saktas". Maidens wore crown-like wreaths on a rigid metallic support or ribbons on their heads, while married ladies wore small triangular hats and scarves.
Men's wear
The men's clothes throughout Latvia are by far less diverse than the women's. They commonly consist of a tunic-like shirt with shoulder boards, narrow long trousers, gloves and a kaftan-like coat which was long or short featuring unobtrusive colours such as grey and brown. In the 18th century men's trousers were tailored from tough, durable khaki-like cloth. Those trousers were fastened with a woven woollen girdle, bone buttons at the waist and small belts around the ankles. Long, dark capes supported by a sole metal hook were popular amongst both sexes. During the harsh winters men wore long high-collared sheepskin coats called "kazoki". These coats were supported by a bone button and a brightly coloured belt.
Popular symbols used in folk designs
Auseklis – the Morning or Guardian Star
This eight-cornered star is used in most Indo - European cultures to denote various things. In ancient Latvia it symbolised the victory of light over darkness. In folklore, Auseklitis is mentioned as the Son of God, the counter of stars and as the groom of Sun's daughter. In Latvia it became particularly popular during the time of righteous aggression after 1930s, in the people's struggle for freedom. Ergo, the modern interpretation – unity. It is said that in times of war or crisis, the Guardian Star will lead the people to safety, protecting them along the way.
Jumis – Fertility
Sign of fertility and mystery of life, this cultural symbol stands for two interlocked ears of wheat. In ancient Latvia barn doors were commonly decorated with this sign and the harvest was a much-celebrated occasion.
Māra Krusts – the Cross of Crosses
It is regarded as one of the oldest patterns and symbols used in Latvian design. Originally some believe, it stemmed from the ancient belief that the entire material world was just a vision of the deity Mara and this cross – her sign. This pattern was often symbolically imprinted on loaves of bread and in the ash of the fireplace. Crossing over the ends of the cross results in a symbol of completion and perfection. It still is very widely used in decorating female garments.
Laima
In the eastern Baltics it is one of the most popular signs in bone carving. In ancient Latvian mythology Laima is a deity, which decides upon people's fate and watches over their lives. This symbol of nature, luck and life is commonly featured right up to the 20th century, in weddings and burials in the form of a conifer branch. The sign is thought to bring luck to the bearer or the wearer.
Laimas slotiņa – Laima's Broom
This sign is vaguely reminiscent of a feather and is believed to stem from a time when people had animal deities. The bird used to symbolise the free spirit and Laima was a deity keeper of the souls. It is mostly incorporated into the design of belts and ribbons.
Pērkons
This symbol is acutely reminiscent of the much-loathed swastika, but rest assured – the God of Thunder, Perkons had no ties with the Nazis. Indeed, the Perkons symbol is far more ancient than that. A toiling blacksmith in the massive forge of the sky also represents Perkons, the mighty, hot-tempered god.
© Oleg K. Temple, Cornerstonesworld.com, 2009.
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