Klaipėdos universitetas

The instrumental music-making tradition of Lithuania Minor was officially recognised as a valuable part of the Intangible Cultural Heritage and included in the national register in 2022. In the 20th century, the way of preserving the instrumental music-making of the Lietuvininkai (the inhabitants of Lithuania Minor) typically used for folklore was not followed, and it would have ceased to exist. However, the folklore revival movement that emerged in the 1960s, along with the determined efforts of Antanas Butkus, a master instrument maker, to restore the folk music instruments of Lithuania Minor, and other favourable circumstances, gave rise to renewed interest and new directions for the development of the tradition. The purpose of this article is to explore the forms and development of this folklore tradition, and to identify the factors that had the most important impact on its decline, restoration and continuity.

A number of different Midsummer celebration models can be distinguished in Lithuania Minor: the most archaic (14th to 19th century), 20th century, and the modern St John’s Day celebration models. The most archaic celebrations were rich in vestiges of the Baltic world-view and mythology: nature, fire and water were worshipped, and people cast spells to protect themselves from evil forces and ensure a good harvest and a happy life. The 20th-century ritualistic St John’s Day tradition of Prussian Lithuanians lost its existential importance as rituals became customs with new forms and symbolic meanings. The most important features of the celebration are the burning of witches in St John’s fire, and general merriment for youth. In the modern celebration model, there is an attempt to combine ethnic traditions with the needs of the consumer society. Fireworks replace ritual Midsummer fires, as bonfires lose their mythological significance. Although the institutionally organised Midsummer celebrations follow a more or less Lithuania-wide scenario; the centralised organisation of cultural events may be beneficial in fostering local forms of the Lithuanian celebratory tradition by highlighting typical elements of St John’s Day in the region of Lithuania Minor.

In the article, using authentic Lithuanian material, the celebration of St Martin’s Day in Lithuania Minor is analysed from a chronological point of view (from the first mention to the present day), in order to show the general stages in the development of the festival, and the modern changes to the customs. The paper analyses the St Martin’s Day feast from the late 19th to the 20th century, showing the structural and functional changes in the calendar feast. It also aims to analyse modern customs in the festival (since 2002), and to discuss the prospects for the continuity of the ethnic tradition in today’s festival.

From the earliest descriptions and studies, the Prussian Lithuanians, or Lietuvininkai, and their sung folklore have usually been treated as one unit. However, the ethnographic region of Lithuania Minor is a vast territory stretching over 200 kilometres from north to south. Two distinct areas of ethnic Lietuvininkai music can be identified within it. This article aims to investigate the musical features of the folklore that existed in the Klaipėda district, and to reveal its uniqueness in the context of Lietuvininkai sung folklore.

The goal of the article is to examine chronologically the specific nature of the Easter holiday in

The purpose of this article is to answer the questions raised in the course of the research on the development of textile pocket of the national costume of Lithuania Minor in relation to the motivation for production and wearing of pockets, the choice in decoration characteristics, the symbolism of ornamentation and colour combinations. The analysis of the accomplished field research reveals the manifestations of the expression of the ethnocultural identity through production and wearing of textile pockets. The analysis of the symbolic meanings traditionally attributed and newly assigned to the chosen decorative elements of pockets reveals the cases of the continuity and change of a symbol. The act of wearing a pocket not only with the national costume of Lithuania Minor demonstrates the expression of one’s identity through wearing the chosen parts of clothing. The growing demand stimulates the production of textile pockets. The research analyses the material collected from the well-informed presenters (makers and wearers of textile pockets) based on the questionnaires compiled by the author of the present article.

Like many other towns in East Prussia, Klaipėda lost almost all its former population during World War II and was inhabited by newcomers after 1945. After an example of Klaipėda, the article analyzes the process of comprehension of a newly inhabited area and making it one’s own. Klaipėda became a former East Prussian city having returned to Lithuania and simultaneously incorporated into the Soviet Union. That caused the clash of interests, the development of which also changed the systems of meanings that provided a framework for the appropriation process. The city was gradually comprehended in the process of formation of unique interrelationships of the meanings of Soviet ideology, all-Union patriotism, Lithuanian national culture, and East Prussian cultural heritage. In the article, the author identifies the processes that affected different configurations of the said interrelationships in different post-war periods.

The article analyzes the aspiration of the interwar political and cultural elite of Lithuania to turn Klaipėda Region acquired in 1923 into integral part of the state of Lithuania by construing collective memory that would unify Lithuania Minor and Major. The attention is focussed exclusively on the initiatives whose authors were the political and cultural elite of Lithuania that identified itself with the tradition of Lithuania Major.

The aim of the article is to present theoretical interpretation of the concept of Lithuania Minor as a Lithuanian memory site in the contemporary Lithuanian historical narative. The principal attention in the article is focussed on theoretical aspects that allow understanding the prerequisites of ideological receptions of the region of Lithuania Minor in the discourse of Lithuanian memory culture. From the empirical viewpoint, the content of stereotypes, images, and plots that realise the concept of Lithuania Minor as a Lithuanian memory site is analysed.

The article is devoted to present the results of ethnomusicological research on parallels in folk song melodies of the Prussian ethnic minorities: Lietuvininkai, Masurians, Kashubians. In the history of ethnic groups of the south part of the West Prussia and East Prussia speaking dialects of the Polish language – Kashubs and Masurs – you may distinguish quite a lot of parallels with the history of the lietuvininkai (residents of Lithuania Minor). A more detailed analysis of the melodies of investigated ethnic groups permits to state that the melodies of the lietuvininkai evidently differ from Polish melodies by the character of intonation, rhythm and performance. Nevertheless, they have intonation complexes, rhythmic elements that are alien to the melodic lines of the lietuvininkai folk songs and could be absorbed from the Polish ethnic music.