vēsture - Latvijas Valsts Arhīvu sistēma
vēsture - Latvijas Valsts Arhīvu sistēma
vēsture - Latvijas Valsts Arhīvu sistēma
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iX latviešU DzieSmU SvētKi 147<br />
52 Jānis muncis (1886–1955) – scenogrāfs, režisors, gleznotājs. Sabiedrisko lietu ministrijas<br />
mākslas referents. K. Ulmaņa autoritārā režīma laikā inscenējis patriotiskos brīvdabas<br />
uzvedumus Rīgā u.c. pilsētās.<br />
53 Herberts zīle (1885–?) – inženieris, Rīgas pilsētas satiksmes valdes Rīgas ielu dzelzceļu<br />
direktors.<br />
54 “Dziesmu vara” – koris un lU studentu dziedāšanas biedrība (dib. 1925).<br />
55 teodors Celms (1893–1989) – filozofs, lU profesors (1936–1944).<br />
liels paldies latvijas valsts <strong>vēsture</strong>s arhīva Sabiedrisko attiecību un publikāciju daļas<br />
vadītājas vietniecei valdai Kvaskovai par rakstā izmantoto dokumentu apzināšanu un<br />
konsultācijām. Paldies Darba organizācijas un attīstības daļas arhīvistei mārai Bitei par<br />
dokumentu datorversijas sagatavošanu.<br />
the 9th latvian song festival:<br />
kārlis ulmanis’ lifetime oath before latvia<br />
Vita Zelče<br />
the latvian Song Festival is a vivid social phenomenon, and its history<br />
dates back to the first latvian national renaissance. as people came<br />
together to sing and to form a movement of choirs, this helped to facilitate<br />
the emergence of a national identity. the origins of the Song Festival were<br />
part of the development of a modern mass society and its cultural aspects.<br />
the events, development, continuity and changes of Song Festivals have<br />
coincided with the malleable historical environment in which they have<br />
occurred. the difference between the previous Song Festival and the next<br />
one was primarily determined by existing social, political and cultural<br />
changes.<br />
this paper reviews the 9th latvian Song Festival in 1938, reviewing the<br />
role of the event in the “new culture” and ideology of the authoritarian<br />
regime of Kārlis Ulmanis. the Song Festival was part of the country’s<br />
ideological and major cultural events, and the point was to mobilise popular<br />
support for the regime, as well as to confirm its legitimacy. the state paid<br />
for the entre festival, thus ensuring unprecedented grandiosity both in<br />
terms of the number of participants and the scope of the event. National<br />
life was completely subordinated to the needs of the festival. Participants<br />
were offered train tickets, discounted tickets to theatrical performances
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