LITHUANIA

Vilnius Historic Centre

Political centre of the Grand Duchy of Lithuania from the 13th to the end of the 18th century, Vilnius has had a profound influence on the cultural and architectural development of much of eastern Europe. Despite invasions and partial destruction, it has preserved an impressive complex of Gothic, Renaissance, Baroque and classical buildings as well as its medieval layout and natural setting.

                                                       

Curonian Spit

Human habitation of this elongated sand dune peninsula, 98 km long and 0.4-4 km wide, dates back to prehistoric times. Throughout this period it has been threatened by the natural forces of wind and waves. Its survival to the present day has been made possible only as a result of ceaseless human efforts to combat the erosion of the Spit, dramatically illustrated by continuing stabilisation and reforestation projects.

                                                        

Kernavė Archaeological Site (Cultural Reserve of Kernavė)

The Kernavė Archaeological site, about 35 km north-west of Vilnius in eastern Lithuania, represents an exceptional testimony to some 10 millennia of human settlements in this region. Situated in the valley of the River Neris, the site is a complex ensemble of archaeological properties, encompassing the town of Kernavė, forts, some unfortified settlements, burial sites and other archaeological, historical and cultural monuments from the late Palaeolithic Period to the Middle Ages. The site of 194,4 ha has preserved the traces of ancient land-use, as well as remains of five impressive hill forts, part of an exceptionally large defence system. Kernavė was an important feudal town in the Middle Ages. The town was destroyed by the Teutonic Order in the late 14th century, however the site remained in use until modern times.

Struve Geodetic Arc

The Struve Arc is a chain of survey triangulations stretching from Hammerfest in Norway to the Black Sea, through 10 countries and over 2,820 km. These are points of a survey, carried out between 1816 and 1855 by the astronomer Friedrich Georg Wilhelm Struve, which represented the first accurate measuring of a long segment of a meridian. This helped to establish the exact size and shape of the planet and marked an important step in the development of earth sciences and topographic mapping. It is an extraordinary example of scientific collaboration among scientists from different countries, and of collaboration between monarchs for a scientific cause. The original arc consisted of 258 main triangles with 265 main station points. The listed site includes 34 of the original station points, with different markings, i.e. a drilled hole in rock, iron cross, cairns, or built obelisks.

                                                                                  

                                                                                  

Modernist Kaunas: Architecture of Optimism, 1919-1939

This property testifies to the rapid urbanization that transformed the provincial town of Kaunas into a modern city that became Lithuania’s provisional capital between the First and Second World Wars. Its community-driven transformation of an urban landscape was adapted from an earlier town layout. The quality of modern Kaunas was manifested through the spatial organization of the Naujamiestis (New Town) and Žaliakalnis (Green Hill) areas, and in public buildings, urban spaces and residences constructed during the interwar period that demonstrate a variety of styles in which the Modern Movement found architectural expression in the city. 

                                                                                     

                                                                                   

 

 

Baltic song and dance celebrations

Both a repository and a showcase for the region’s tradition of performing folk art, this cultural expression culminates in large-scale festivals every fifth year in Estonia and Latvia and every fourth year in Lithuania.These grand events, held over several days, assemble as many as 40,000 singers and dancers. For the most part, the participants belong to amateur choirs and dance groups.Their repertories reflect the wide range of musical traditions in the Baltic States, from the most ancient folk songs to contemporary compositions. Directed by professional choir conductors, bandleaders and dance instructors, many singers and dancers practise throughout the year in community centres and local cultural institutions.

Choirs and musical ensembles first became institutionalized in Estonia during the eighteenth century. Subsequently, choir singing spread throughout rural and urban areas, spurred by the growing popularity of choral music, singing societies and song festivals in Western Europe. With the participation of the most active choirs from various regions of these States, the Baltic Song and Dance Celebrations were initially organized in Estonia in 1869 and in Latvia in 1873. Lithuania hosted its first celebration in 1924. Once the Baltic States gained independence from Russia after the First World War, the celebrations acquired widespread popularity as a means of asserting Baltic cultural identity. In the three countries, special venues and festival sites were constructed to host the events. After the incorporation of the Baltic States into the Soviet Union at the end of the Second World War, the celebrations adapted to the prevailing communist ideology.

Since regaining independence in 1991, the Baltic States have undertaken various measures to ensure the protection of this tradition, yet the major economic and social changes taking place in the region raise serious concerns for the future. Today’s principal threats stem from the rural exodus and the resulting break-up of local amateur groups.

Cross-crafting and its symbolism

Cross-crafting refers to a widespread tradition of making crosses and altars, as well as the consecration of these crosses and the rituals associated with them. The carved oak crosses are linked to Catholic ceremonies and harvest celebrations. Once the cross is consecrated by a priest, it acquires an inalienable sacred significance. They became the symbol of national and religious identity with its incorporation into the orthodox Russian Empire in the nineteenth century. Their symbolic role was reinforced under the Soviet regime, despite the fact that the crosses were officially banned.

The crosses measure between one and five metres high and are often adorned with a small roof, floral or geometric decorations, and occasionally bear small statues. Statues of the Virgin Mary and various saints are often called upon to aid people in distress. The crosses are placed on roadsides, at the entrance to villages, near monuments and in cemeteries. A range of types of offerings are made, especially items of food, rosaries, money or coloured scarves (for a wedding, for example) or aprons, asking for fertility. The crosses are also an important meeting place in a village and a symbol of the unity of the community.

Today, as in the past, cross crafting is not taught in any school but is handed down through non-formal education. The most serious threat to cross-crafting is rural exodus and the uniformity.