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The Karelian Isthmus belonged to Finland until 1939. The period between the World War I and the World War II was a time of rapid contextual change and ended the difficulties caused by modernisation aggravated in the year 1918. Divine-like authorities were posed in a new light and the Civil War of 1918 set the whole nation before direct aggression and “Red” revolutionism. The ”Whites” won the war at the expense of the ”Reds”. Young nation (Finland gained independence in 1917) was compelled to define its relation to Reds and Whites – Whites were chosen. Also the Lutheran church was officially against Red anarchy and bolshevism. The situation around the reminiscence concerning the Red victims of the Civil War 1918 in Finland is complicated. The question of the problem of meaning and publicity plays a central role in the logic concerning the ritual performance and memory of the Civil War 1918 in the city of Vyborg. There is public and private silence and even prohibition to be connected with deaths, memory and places. It has continued until these days. At the same time the official history was put on a favourable form and there were clear limits for the official narratives. The victory of the “Whites” was interpreted as a victory for the independence of the Finnish nation. The history of the “Reds” became a national anomaly: forgotten and invisible. The atmosphere of concealing continued until the 1960s, when especially Finnish literature took pioneer steps towards the more open minded interpretation of history. On the other hand, the inheritance of concealing still exists – especially when it comes to oral history.

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A place name sign is a linguistic-cultural marker that includes both memory and landscape. The author regards toponymic signs in Estonian Sign Language as representations of images held by the Estonian Deaf community: they reflect the geographical place, the period, the relationships of the Deaf community with hearing community, and the common and distinguishing features of the two cultures perceived by community’s members. Name signs represent an element of signlore, which includes various types of creative linguistic play. There are stories hidden behind the place name signs that reveal the etymological origin of place name signs and reflect the community’s memory. The purpose of this article is twofold. Firstly, it aims to introduce Estonian place name signs as Deaf signlore forms, analyse their structure and specify the main formation methods. Secondly, it interprets place-denoting signs in the light of understanding the foundations of Estonian Sign Language, Estonian Deaf education and education history, the traditions of local Deaf communities, and also of the cultural and local traditions of the dominant hearing communities. Both perspectives – linguistic and folkloristic – are represented in the current article.

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I discuss in this article some key narratives of women I interviewed in Ingria 1992–1993. The narratives of those women were about dramatic stages of their lives during the World War II. The main themes of the life stories were forced transfers and deportation suffered by the Ingrian Finns. I examine with some examples how various paralinguistic devices, such as speech tempo, emotional outbursts or silence, were tied in with the verbalisation of experiences. The three factors I discuss here are woven into the narratives of the women I interviewed. The first factor is “impassioned narrating”, which shows how a narrator reveals how she is reliving the event, she told about. The second factor is weeping and we may ask how the tears affect the narrator. The third factor is silence and reticence. In retrospect I have thought about the therapeutic effect of speaking, forgetting and remaining silent.

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This paper is a study of the traditional use of a special kind of wood in bow construction in Eurasia and North America. This special kind of wood, called compression wood and coming from coniferous trees, has unique qualities that makes it suitable for bow construction. Bows made using this special wood have been referred to as Finno-Ugric bows, Sámi bows, Two-Wood bows and Eurasia laminated bows. These bows appear to have developed from archaic forms of compression wood self bows that were made from a single piece of wood. Recently features similar to the Eurasian compression wood bows have been discovered in bows originating from Alaska, and the use of compression wood for bow manufacture has been known to some Canadian Inuit groups. This paper addresses the origin and possible diffusion pattern of this innovation in bow technology in Eurasia and suggests a timeframe and a possible source for the transfer of this knowledge to North America. This paper also discusses the role of the Asiatic composite bow in the development of bows in Eurasia.

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This article will analyse the many challenges that creating, storing and using digital heritage has brought to the memory institutions and their professionals. We look at the interrelationship between the potential users of the museum collections, the collections themselves and information and communication technologies as intermediaries to these relations. By analysing survey data, we look at the average Internet user in order to find out who could be the current and future users of the online collections. In addition that, we analyse interviews conducted with 12 members of different Estonian memory institutions in order to understand their perspective on online cultural heritage. Third empirical pillar of the article comes from the two focus group interviews to understand what are users percieved needs for the digital cultural heritage. The data will be analysed through three key functions of the memory institutions in order to understand how digitisation helps with preservation, opening access to the collections and inviting audiences to become active participants and increasing their involvement with cultural heritage.

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The article analyses the marking of song text patterns by means of musical devices in the performances of Estonian regilaul. The article examines which variants of musical rhythm and melodic contour are preferred by four singers in their performance of verses that have different functions within the song structure. In both the text and the musical rhythm, a greater number of syllables, and the attendant changes in musical rhythm, mark the verses that have an initiating function and which communicate entirely new information. In performing such verses, rather than the extension verses of parallelism groups or verse repetitions, in the short melodies with narrow pitch range, the singers prefer more “intense” variants of melody contours in which the higher notes of the scale are predominantly used. In two-line melodies, the singer’s patterning of the song text is largely determined by the musical logic, attempting to align the beginnings of the melodic strophes and verse groups.

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The Journal of Ethnology and Folkloristics is the joint publication of the Estonian Literary Museum, the Estonian National Museum and the University of Tartu. Journal of Ethnology and Folkloristics (JEF) is a multidisciplinary forum for scholars. Addressed to an international scholarly audience, JEF is open to contributions from researchers all over the world. JEF publishes articles in the research areas of ethnology, folkloristics, museology, cultural and social anthropology. It includes both studies focused on the empirical analysis of particular cases as well as those more theoretically oriented.

JEF is indexed by Sciendo (De Gruyter Open), Elsevier – SCOPUS, Anthropological Index Online, Central and Eastern European Online Library (C.E.E.O.L.), Directory of Open Access Journals (DOAJ), ERIH PLUS, MLA Directory of Periodicals (EBSCO), International Scientific Indexing (ISI), MLA International Bibliography (EBSCO) and Open Folklore Project.

From March 31, 2016 the Journal of Ethnology and Folkloristics has been published in partnership with Sciendo (De Gruyter Open), the world‘s second largest publisher of Open Access academic content, and part of the De Gruyter group which has over 260 years of publishing history. Sciendo closely cooperates with the majority of abstracting and indexing services, universities and libraries, providing a wide availability of journal‘s content and increasing its visibility. Journal‘s full-text articles, starting from issue 10, can be found on the Sciendo‘s platform at https://content.sciendo.com/view/journals/jef/jef-overview.xml.

JEF has neither article submission nor article processing charges.

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The editorial board is participating in a growing community of Similarity Check System’s users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process.

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JEF is issued two times per year, both in print format and online. The journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. 

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Journal of Ethnology and Folkloristics is a peer-reviewed journal. All submissions are reviewed initially by the editors. Submitted research articles that meet the scientific and journal’s editorial standards will be read by two anonymous referees. Based on the reviewers reports, the Editor-in-Chief can accept, reject, or request modifications to the manuscript.

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The non-commercial use of the article will be governed by the Creative Commons Attribution-NonCommercial-NoDerivs license as currently displayed on http://creativecommons.org/licenses/by-nc-nd/4.0/.  Under the Creative Commons Attribution-NonCommercial-NoDerivs license, the users (other than authors) are free to share (copy, distribute and transmit the contribution) under the following conditions: 1. they must attribute the contribution in the manner specified by the author or licensor, 2. they may not use this contribution for commercial purposes, 3. they may not alter, transform, or build upon this work. Authors retain the following rights: 1. copyright, and other proprietary rights relating to the article, such as patent rights, 2. the right to use the substance of the article in future own works, including lectures and books, 3. the right to reproduce the article for own purposes, provided the copies are not offered for sale, 4. the right to self-archive the article.

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Folklore has been linked to national identity formation. In this article, informed by Johann Gottfried Herder’s romantic nationalism and following Alan Dundes’s (1965) method of folklore studies, it is argued that Indonesia has historically followed this trail, and its recent movement of collecting and disseminating Indonesian folk narratives from across the archipelago is a culminating point in this endeavour. Although the move was claimed to support the national literacy and character building movement, the rigorous endeavour of the government in garnering folktales from all 34 provinces can also be read as part of the national political agenda of strengthening the national integrity, promoting unity in diversity and disseminating so-called national values. Examining further the contexts and procedures of how the narratives were collected and selected for publication, the study reveals an effort to inculcate national values targeted at students in formal education, but more particularly young children as the future harbingers of national values.

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The article presents the results of textual studies of the early recordings of the Yakut heroic epic Olonkho, recorded from the second half of the 19th century to the beginning of the 20th century. The relevance of the study is due to the fact that scientific research of the texts of the early recordings of Olonkho with full broadcasts of the plot is most widely, systematically carried out. At the same time, researchers today continue to pay less attention to early recordings of Olonkho, producing brief or incomplete schematic statements of content. A review of early texts on Olonkho shows that these reviews have incomplete, overly concise, summaries of the plot, although they do confirm the stability of the ancient thematic content, plot structure, motifs, and image system. The richness of the poetic language and the beauty of the style, and the surprisingly artistic content and archaic motifs, which can be seen even in translations, are of considerable value for establishing a full picture of the unique oral creativity of the Yakut people. This study attempts for the first time to systematise transcriptions of early recordings of Olonkho using a summary of the plot in Russian compared with a summary of the plot in the original language. The systematised texts will be used in a comparative study of Olonkho texts recorded in the 19th and 20th centuries. This analysis shows that there has been a transfer of plot with epic texts of the late period in order to maintain a degree of continuity, using both common and specific features to bridge between traditional and modern forms of Olonkho, taking into account regional and local features. 

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In this case study I offer an insight into the activity of an association for local traditions in a Hungarian village. In addition, I provide some general analytical frames for the examination of such tradition-based locality projects. The field of the observation is Kóny, a village in north-west Hungary. Its peasant traditions – especially the famous male dance, Kóny verbunk – were re-contextualised from time to time in the 20th century. The latest, recent, wave of re-construction concentrates on the systematic (re-)valorisation of locality by highlighting its former peasant traditions and the vernacularisation of the concept of heritage. While the organising work means a new, shared everyday practice for the association’s members, performing the traditions in the public space offers the villagers an occasion to reinforce local identity and identify with the locality.

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