Tuesday, August 17, 2010

Maagiline õhtu – teater Varius




Ühel jahedal septembrikuu esmaspäevaõhtul jalutasin oma täditütrega teatri poole, mis asub Eesti Rahvusraamatukogus. Kui me teatri poole liikusime, jutustas ta mulle etendusest. Teater Varius on  projektiteater nii nagu hiljuti Austraalias esinenud  ühendus R.A. A. M ,mis etendab enamasti ajalooliselt tõeseid lugusid.

Teater on rahvusraamatukogu keldrisaalis ning seal on kohti  80  inimesele. Läksime piki koridori , siis trepist alla saali, kuhu oli juba kogunenud inimesi. Selle õhtu külalisteks olid põhiliselt keskealised  vaatajad. Varsti oli saal rahvast  täis, valgus hämardus ning avanev eesriie tõi meie silmade ette raadiojaama  Landessender Reval stuudio. Mäletan, et tegemist oli 1944 aasta sündmustega., märtsipommitamise ja teater ESTONIA hävimisega.

Kui olete saanud jälgida, kuidas võlur avab oma etenduse ning puistab tähetolmu üle teda jälgivate inimeste , muutes kogu õhtu suurepäraseks nõiduslikuks elamuseks, siis saate enam-vähen ettekujutuse sellest, mis järgnes.

Näidendi kujundus tõi meie ette 1944 aasta stuudio raadiomajas, ajal, mil paljud eestlased valmistusid lahkuma, et pageda nende maale tungiva eest.  Sain siiski üsna kohe teada, et meie rahva  valu ja pisarad  on läbisegi  lõbusa huumoriga. Rõõmus meeleolu algas kohe etenduse algul . okupantide

Mõtlesin, et sedalaadi näitemäng oleks mu vanemaid kindlasti rõõmustanud, sest see oli nende noorusaeg ,kuhu meid tagasi viidi. Küllap oleks see neid ühtaegu nii rõõmustanud kui kurvastanud.
Esimese vaatuse  lõpp näitas seda, kuidas inimesed olid sunnitud kodust põgenema, jätma armsa linna ja töö, see oli hüvastijätt. Saalis oli vaikus ja nii mõnigi pühkis põselt pisara. Küll mõeldi enda saatusele ja neile, kes olid sunnitud lahkuma.

Algas teine vaatus. Oma hämmelduseks nägin ja tajusin veelgi suuremat maagiat – aga minu tunnetsest aru saamiseks peaksite seda ise nägema! Olen näinud palju etendusi ja kabaree showsid, ning Variuse etenduse kohta võin öelda, et see oli parimatega ühel tasemel.  Istudes väikeses teatris Tallinnas, kuulisn äkitselt ja oma suureks üllatuseks Arthus Caldwell`i sõnumeid. Ei suutnud seda uskuda. Tundsin end oma vanemate minevikus, nende elu osalisena, kuulsin nende laule, küsisin nende küsimusi ... Wow!!

Etendus lõppes. Kuulajad aplodeerisd väsimatult. Näitlejad tulid mitu korda tagasi publiku ette. Tänu ei tahtnud lõppeda.  Mida veel öelda? Kui vaatate seda fotot kus olen koos näitetrupiga, näete tähetolmu mu peal sädelemas.

Helisev viis on etenduse nimi ja teater Varius on trupi nimi. Vana laulu sõnu parafraseerides – nende jaoks on elu kabaree. Etenduse arvustused leiate internetist. Soovitan vaadata Rootsi Eesti Päevaleht arvustust.

Palju nalja ja naeru, laulu ja tantsu, ning mälestusi möödunust. Bravo väga andekale trupile ja tänud maagilise õhtu eest.

Rex Urmas Rattur   

 Mälestused suurepärasest õhtust Tallinnas

Saturday, August 14, 2010

RESALE ROYALTY SCHEME - Visual artists getting value for their art in Australia


By Rex Urmas Rattur


On the 9th of June 2010 a new law was introduced in Australia, which established a resale royalty scheme for visual artists. Visual artists can now receive a 5% royalty on the sale price of commercial ‘resales’ of their work.


It means visual artists will be able to share in the commercialisation of their work in the secondary art market just as writers and composers do. (It is worth pointing out at this stage that the royalty does not apply to private sales between individuals where there is no art market intermediary.)


The ‘resale royalty scheme’ means that if your works are sold in the future, then by law you must be paid 5% of the sale price. Since the threshold for the law to operate is over $1,000, it means that you will be paid more than $50 per sale if a work is sold for more than $1,000.


The second criterion for the law to operate is that you must be an Australian citizen or permanent resident. The scheme applies to Australian artists during their lifetime, and for the next 70 years after the artist’s death.


And finally the right to receive ‘resale royalties’ is inalienable; it cannot be given away, transferred or waived. It is retained by the artist or the beneficiary of the artist’s estate, if the beneficiary is Australian.


The Australian government has chosen the Copyright Agency Limited (CAL) to manage and administer the scheme because of its track record and on the basis of its view that it is important to recognize the principle that artists get a fair return for the artworks which they create.


Artists have been defined as visual artists, including painters, sculptors, printmakers, craft workers, installation and media artists, and photographers who produce limited edition prints. If you have any uncertainty about whether you are included in the category, it is recommended that you contact CAL, who will be delighted to assist in relation to the scheme.


The Estonian community in Australia has seen the emergence and growth of many visual artists – painters, printmakers, graphic artists, sculptors, bookbinders, fine art jewellers (silver and goldsmiths), and craft workers who have produced amazing tapestries and woven works. Mass produced works are excluded from the scheme. Categories of artworks are listed on the CAL website in more detail.


I recently met Tiiu Reisaar, an Estonian artist living in Australia, whose works grace many homes in both Australia and overseas. She told me that many of her paintings had been sold to Estonians in the UK, Germany, Sweden and many other countries in Europe which have Estonian communities.


It is important to note that the ‘resale royalty scheme’ will soon apply overseas in some countries which also have resale royalty schemes such as the UK, France and Germany. CAL will be seeking to establish reciprocal arrangements with them for the collection of resale royalties for Australian works, which CAL can pay to the artists.


Artists are invited to register with CAL. Registration is free. It is simple and easy. It enables the payment of royalties to artists from vendors, art market professionals, auction houses and galleries, who are obliged by law to provide CAL with information to enable CAL to identify the artworks and artists.


If you require more information on the artists’ resale royalty scheme, you can contact CAL either online www.resaleroyalty.org.au, or by phone 1 800 066 844 or 02 9394 7600.


If there is widespread interest in this subject we may be able to arrange for a seminar at Estonian House, where CAL could respond to specific enquiries from individuals in more detail.


A few nights ago I went to a seminar on the Resale Royalty Scheme, where many of the audience members were practising artists. The presentation was short and succinct. All queries were answered precisely and informatively. No one was ignored.


My own interest in the seminar however was from a national perspective, on how to preserve the Estonian national memory. Artworks created over the last fifty or sixty years reflect the experience and feelings of a generation, a generation of Estonians in Australia.


CAL offers a way to catalogue the works of Estonian artists. They will add pictures of artworks to their register. Due to the rigour that CAL applies to privacy rules, for which CAL has been commended, access to the CAL register is only available to individuals or their beneficiaries who register their artworks.


By sending a digital picture/pictures of an artwork, details of when it was bought or sold, and by whom, as well as a short description or any other details about the artist or the theme of the work to our newspaper MEIE KODU or to our website Estonians in Australia you could help to set up a catalogue to establish a cultural resource, as well as a commercial one, to recognise Estonian artists in Australia.






30 July 2010

Thursday, August 12, 2010

The Second Edition -

At the launch of my book Eyewitness: Estonia 1909–1949 about one year ago, an old Estonian gentleman approached me. With a perplexed look on his face he showed me a picture of a building in the book, saying that it was actually a picture of the girls’ school, whereas the caption described it as the 'Tallinn City Boys Commercial College’1. Earlier on, while I’d been writing the book, my cousin in Estonia had sent me a photograph of the school which she’d taken off a website. I couldn’t use that photo due to copyright so, in response to my request, she had taken a new photo of the same building on Pärnu Maantee which she then sent to me.

Shortly after the book launch I was on my way to Estonia, thoroughly exhausted by the last three years of hard work. So unremitting had been the work that I still think of it as the toughest time of my entire life. The last three months had been exceptionally hard, as it is once you set yourself a deadline. As a result of that experience, I realise that the main benefit of a deadline is that it forces writers to finalise their work. Without a deadline, they will often procrastinate and continue to edit, sometimes never publishing the work in their entire lifetime. So on the flight I looked forward to a period of respite in Estonia.

One of my hobbies is looking through online catalogues, searching for items of interest in second-hand bookshops. Nowadays in Estonia most bookstores have online catalogues. My interest in buying any item is with a view to in some way adding to the historical authenticity of my book. Shortly after my arrival in Estonia, because of that old man's comment, my attention was caught by a particular booklet in one of those online catalogues.

In Australia I had already become aware of the existence of this booklet, titled 25 Years – The History of the Tallinn City Boys Commercial College. So I telephoned Raamatukoi and ordered it. Raamatukoi is a second-hand bookshop in Tallinn that specialises in second-hand books, pamphlets, magazines and other assorted printed matter. Much of their material is bought from families and deceased estates who are disposing of their private book collections and personal items. Although the title was listed, the man I spoke to said that he would have to check first to confirm that it was still available. A couple of days later, there was a telephone call advising me to collect it.

Raamatukoi is almost at the end of the first short section in Harju Street, in the 'old town' of Tallinn. I caught a tram there, and from the tram stop at Vabaduse Väljak (Freedom Square), I walked across the road. I then had to go past some road works alongside the excavations of the site for the now famous War of Independence monument. During the excavations Tallinn City Council had even discovered some ruins from the 13th century so as I walked to the bookshop, I was quite excited at the prospect of peering through the cyclone wire fence to view the recent archaeological discoveries. But, turning from the square into Harju Street, I was saddened to see this ‘beautification’ of the previously unkempt patch of ruins which had so tellingly represented the horror of the bombing of Tallinn on March 1944. They had been a stark reminder of the bombing of our beloved city.

I recall that as I entered the bookstore there was a queue of people waiting to pay for their purchases. There is always a varied clientele in the store intent on finding some item of value. Writers and artists are easily distinguishable by their general poverty-stricken appearance, so needless to say, I felt that I fitted in well with the crowd of buyers in the shop. No one seemed unhappy about the price they paid for the second-hand materials, which struck me as being in sharp contrast to the attitude of customers in Australia, where people act as if they are doing the proprietor of a second-hand shop a favour, often quibbling over the amount of the discount they might get on some used item.

Because the booklet was old, it was handed to me in a clear plastic bag. I took it out from the bag and examined it carefully, checking to see that all the pages were in sequential order. From a quick glance over the booklet, I saw there were photographs of the Tallinn City Boys Commercial College building as well as a list of graduates at the end of the book. When I arrived home, I put it on a pile of similar items so that I could examine it at a more convenient time.

My main item of business that day was to catch Mart Laar, the famous Estonian historian and leader of the nationalist Isamaaliit - Res Publica political party, who like a proverbial gadfly, was flitting here and there, involved in a plethora of activities ranging from supporting Georgia at European forums to giving the keynote address at the funeral of Jaan Kross, the esteemed Estonian writer. Luckily I was able to arrange, at short notice, for a copy of my book to accompany him on a flight to Georgia, hoping that my father's words would give him resolve in the Russian invasion of Georgia crisis and hoping to meet him later at a more convenient time.

At the time I used to breakfast at the Reval Cafe, which is located on the corner of Pärnu Maantee and Sakala Street. After that, I would walk a short distance up Sakala Street to a copy shop that printed my business cards, invoices and other assorted paraphernalia to enable me to market my book. For over a month I kept to the same routine.

I think that it was one day in October, as I was standing on the street after a late breakfast enjoying the sunshine and the sense of the moment in Sakala Street, that my gaze rested on an old building across the road and for some strange reason, perhaps because of a nagging memory, my curiosity got the better of me. So I crossed the road, and peering through the wrought-iron fence at the old wall plaques, I read the signs on the side of the building. You can imagine my surprise at finding the Tallinn Boys Commercial College building still standing and intact.

My astonishment was immense, largely because of the hours that I had spent poring over old maps of Tallinn, trying to trace out the route of the highway to find my father's secondary school. This was made difficult by the changes to Tallinn during the Russian occupation, the ongoing reconstruction of Tallinn and the destruction of heritage-listed buildings in Sakala Street, the subject of corruption scandals that were reported daily in the newspapers.

I decided to walk back across the road to look at the building from a little further away. I stepped past the parked cars, and having dodged in and out of the traffic, was standing on the roadway in a passing traffic lane. This almost resulted in my being run over by a BMW driven by a member of the new elite.

I recall that the driver, who had his driver’s side window open, stopped the car and looked at me in amazement. I said to him, “That is my father's school. The school he went to in 1924!” The driver laughed and said to me in Estonian, “Wonderful, I can see you are a double lucky person, lucky that I saw you in time as I was blinded by the sun and lucky to discover this school.” He congratulated me again on finding my father's school and wished me well as he sped off.

When I returned home, a short way from that building at number 19 Sakala Street, the first thing I did was to open the small book to confirm my discovery. The caption under the photo of the school stated that the school was at 19a Sakala Street. When I spoke to my relatives about the events of that afternoon in the sunshine, they told me that since 1924 there had been many changes to the roads in Tallinn. Even they did not know that Sakala Street had previously been named Vana Pärnu Maantee.

Over the next few sunny autumn days which followed this discovery, I took many pictures of that stark old building, one of which is included in the second edition of my book, thereby making it historically accurate. So a mystery was revealed, and perhaps my confirmation of the change of the road from Vana Pärnu Maantee to Sakala Street adds a little more to the history of Tallinn, the ancient capital of Estonia. It is a wonderful experience to unravel a mystery and to establish a precise history of the events, as well as to enhance the authenticity of my father's story.

But this wasn’t all. As I mentioned earlier I even discovered, near the end of the book, a list of graduates from the years 1909 to 1933. Otto Johann Kiesel, the school Direktor, had listed the names of all the graduates and teachers, precisely spelt. I felt happy at the sight of my father's name, 'Voldemar Rattur' and also that of my uncle, 'Viktor Rattur'. Making corrections to the second edition, I felt that the benefit to readers, genealogists and scholars is that a precise, accurate spelling of a name tied to a specific date may help to unravel a vast amount of history. Readers will thank Otto Johann Kiesel for being an exemplary educator and teacher to whom we owe a profound debt.

The second edition is a better book for its historical authenticity. If some readers are aggrieved about the quality of the first edition, all I can say is that if the first edition had not appeared, the old Estonian gentleman would not have been able to make his comment to me and this writer would have been unaware of the aforementioned details. In as much as I can offer a 'mea culpa', I will state unequivocally that for the rest of my life, if I become aware of any new revelations, another edition will appear.

Although a year has passed since the publication of the book, I feel the most significant feature of the book is that it is the only book written in English of an eyewitness account of that period of Estonian history. Thus, in 2010, we are able to read the tale of a very ordinary man from a very tiny country, and the children and grandchildren of Estonians whose first language is English, can understand a little more about the people of Estonia and of their extraordinary exploits and history. A fitting end to this story for me would be to see the look of surprise on the face of the old Estonian gentleman when he reads this article in his newspaper and understands that I am sincerely grateful for his comment, “This is not a picture of the boys’ school”.

Rex Urmas Rattur Sydney, January 2010

1. Tallinna Linna Poeglaste Kaubanduskool

Briljandid’ in the Treasure Trove in Surry Hills: Diamonds in the Estonian Archive in Sydney, Australia


Cultural treasures take many forms. For some, it is in artefacts such as The President’s Regalia, and for others like myself, it is in memorabilia such as images of the time, in which poignant memories are lodged.

For the past two years, I have searched for information on Estonians in Sweden during the period 1944-1949 in an attempt to place my father’s life in perspective. In a book he wrote after arriving in Australia, he describes many events, beginning with our escape from Estonia in October 1944, and finishing in July 1949, with the time of our departure from Sweden to come to Australia.

Accordingly, I am delighted to write this account of a discovery I have made in the Estonian Archive in Sydney.

‘Briljant’ is an Estonian word used to describe a cut polished high quality diamond. I feel that this is a very apt word to use to describe the Vilper Collection. Fortunately, my queries at the Estonian Archive prompted Maie Barrow, the archivist, to point me in the direction of the massive photo albums of the said period, which are entitled Estonian People Fleeing From Native Country and Refugee Life in Sweden in Word and Picture 1944-1946. I refer to these as the Vilper Collection and they are to be found at the Estonian Archive.

The Vilper Collection consists of two massive photo albums which give a new meaning to the term ‘boat people’–especially in Australia where the refugee issue is a hot item in contemporary dialogue this very day. The images graphically depict the overcrowding in the sailing boats as they set off for a voyage across the Baltic Sea. The people faced a voyage across a sea full of minefields, the constant danger of being rammed by German U-boats, being sunk by Russian warships or being bombed by German aeroplanes, with a forlorn hope of rescue by their ancient friends, the Swedes.

The Estonians, along with their Baltic neighbours, had the dubious honour of being the first boat people in the world. No wonder we are sympathetic to the plight of the present day refugees.

As well as heart-wrenching images of men, women and children who risked everything for a chance to escape annihilation by the Soviet terror organs, the albums contain many other images, such as the burning and ruins of the capital city, Tallinn, the result of the Soviet bombing in March 1944.

Even though the events are sixty years past, I felt deeply moved by the scenes of people in Tallinn desperate to escape from the Soviet invasion. In the photos, you can almost hear the words of the German border guards, “Papieren bitte”, as the people queued at German control points. Images of the Estonia Theatre and other similar landmarks also serve to remind us of Estonia’s culture as it was before the Soviet conquest.

Until he escaped from Estonia in September 1944, Hans Vilper was an official photographer for the United Military Educational Institutions of Estonia. He documents clearly the times, the people and the events prior to the flight from Estonia, as well as the arrival of the refugees in Sweden.

The albums also contain a photographic account of the lives of the Estonian refugees in Sweden from the time of their arrival in the country. There are photographs of the processing of people in quarantine camps and of their initial living conditions, as well as of the activities in which they engaged, from making Estonian flags and printing Estonian books, to folk dancing and theatrical performances. The albums are a unique historical record of the Estonian people at a crucial time in Estonian history. My opinion is that every Estonian or person of Estonian descent should view this collection to see for themselves the images from the period 1944 to 1946. Even if your route to Australia was through Germany, the photographs will evoke poignant memories of your parents or grandparents during these years. So if you are visiting Australia, believe me, it is worth your while to look at some of the ‘Briljandid’ at the Estonian Archive in Sydney, Australia. By Rex Urmas Rattur

Articles

The blog is a collection of articles authored by Rex Urmas Rattur. The articles deal with his experiences eg theatre review, with Estonian organisations in Australia, with legal issues eg the Resale Royalty law, news in relation to his book eg The Second Edition and of general interest to Estonians and those of Estonian heritage