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  Latvijas KultÅ«ras Kanons  
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Jaunsudrabiņš šajā ceļā nevilšus nokļuva pat soli tālāk, kur "tirgū pirktais papes zirgs guļ nomaļis un bērni spēlējas ar pašu taisītajiem", jo "cik skaistas govis un zirgi taču ir vienkārši kociņi". Pateicoties šai izpratnei, iespēja ar bērna acīm vārdu un līniju saskaņā atklāt "Baltās grāmatas" Mūsmāju pasauli uzrunā un bagātina arī citā vidē un laikmetā izaugušos mūsdienu cilvēkus.
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Paul Gauguin once invited Western civilization to return from the horses of the Parthenon to the child’s hobby horse. Jaunsudrabiņš went even farther: "the cardboard horse purchased at the market has been thrown aside and the children are playing with the animals they have made themselves", for "what beautiful cows and horses can be seen in simple sticks". Owing to the author’s perceptiveness, even nowadays people can discover a whole world in the harmony between word and line that is Jaunsudrabiņš’s "Baltā grāmata".
  Latvijas KultÅ«ras Kanons  
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Meklēt atbilstošāko veidolu iecerētajam vārdu un līniju apvienojumam palīdzēja ne tikai Jaunsudrabiņa agrās zēnības atmiņas, bet arī nopietni bērnu zīmējumu valodas un rotaļu pasaules vērojumi. Lineāras izteiksmes izvēli noteica apsvērums, ka "zīmējumā ir vieglāk atsvabināties no smagās īstenības un piegriezties stilizācijai", kas ir "atkāpšanās no parastajām, dabīgajām formām, lai to pašu izteiktu [..] koncentrētā veidā".
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It was not only the early boyhood memories that helped Jaunsudrabiņš to find the most appropriate form to his intended unity of word and line, but also serious explorations of children’s drawings and their world of games. The choice of linear expression was determined by the consideration that "in a drawing, it is easier to get rid of the heavy reality and turn to stylization", which represents "a departure from the conventional, natural form to express the same thing […] in a concentrated manner." The author’s position was dictated by his conviction that "a child needs no illusion; he needs stimulation", which, as opposed, for instance, to the opulent illustrations by Jānis Roberts Tillbergs to "Misiņbārdis un stiprais kalps" (1913), a fairy tale by Anna Brigadere, would leave plenty of space for imagination.
  Latvijas KultÅ«ras Kanons  
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Tā kā pēc neilga laika vairāki no viņiem kļuva par Dailes teātra 3. studijas audzēkņiem, tad radās nodoms veidot izrādes atšķirīgā skatuves izpausmē, sintezējot vārdu, mūziku un ekspresīvu kustību. R. Ligera radošajā un pedagoģiskajā vadībā kolektīvs pārtapa par pantomīmas ansambli un 1967.
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Выпускник 1955 года Театрального факультета Латвийской Государственный консерватории Робертс Лигерс, став актером Академического театра Дайлес, одновременно принял приглашение на должность режиссера любительского ансамбля Дома культуры строителей. В этой экспериментальной театральной студии с целью создания серьезных драматических спектаклей объединились молодые люди, так или иначе не поступившие на Театральный факультет – Юрис Стренга, Леонс Криванс, Илзе и Улдис Ваздиксы, Паулс Буткевичс. Под творческим и педагогическим руководством Р. Лигерса коллектив был преобразован в ансамбль пантомимы и в 1967 году назван «Рижской пантомимой». Весь период своего существования он оставался любительским ансамблем, хотя в основе его художественной деятельности всегда лежали высокопрофессиональные цели и задачи.
  Latvijas KultÅ«ras Kanons  
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gada 19. novembrī tiek atklāts bijušā JRT telpās Romanova (Lāčplēša) ielā 25 ar Raiņa lugas "Indulis un Ārija" izrādi E. Smiļģa inscenējumā, līdz ar to ieviešot šo vārdu latviešu teātra mākslas apritē.
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Eduards Smiļģis, an actor, stage director, reformer of Latvian stage art, founder and director of Dailes Theater was born in 1886 in Riga. Even though he was educated and had good prospects as an engineer, his love for theater took the upper hand and in 1912 he joined the New Riga Theater (1908-1915) troupe. Evacuated to Russia during the war, Smiļģis returned to Riga in the spring of 1920 with a plan for a new type of theater. On November 19, 1920 this new theater, Dailes Theater is opened with the production of Rainis’s "Indulis un Ārija" staged by Smiļģis.
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Эдуардс Смильгис – актер, режиссер, реформатор латышского сценического искусства, основатель и руководитель театра Дайлес – родился 23 ноября 1886 года в Риге. Э. Смильгис получил диплом инженера машиностроения. Однако его раннее увлечение театром восторжествовало, и перспективный инженер в 1912 году начинает работу в труппе Нового рижского театра (1908–15). Весной 1920 года Смильгис возвращается в Ригу из эвакуации (из России) с планом создания театра нового типа. Он берется руководить новым театром Дайлес, который 19 ноября 1920 года открывается в помещении бывшего Нового рижского театра на улице Лачплеша постановкой Смильгиса «Индулис и Ария» по Райнису.
  Latvijas KultÅ«ras Kanons  
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Precīzāk, priekšteči Bērziņam ir visi un visur – sākot no senās Divupes ķīļrakstu autoriem un Vecās Derības rakstītājiem un beidzot ar bezgala daudziem mūslaiku autoriem, no poēzijas ģēnijiem līdz anonīmiem ziņģu sacerētājiem – visi, kas vien kaut kādā veidā saskārušies ar vārdu vai, kā raksta Bērziņš, "izelpojuši vārdu".
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Uldis Bērziņš (1944) has been writing an impressive epos his entire life; its subject is his relationship to language and the relationship of language to itself. Language and time are the central motifs in Bērziņš’s poetry, yet they are never separated. Bērziņš does not express thoughts so much as he creates them, sending the reader off on an expedition to a labyrinth of meaning. Although Bērziņš’s poetry is published in collections, one gets the impression that he is constantly working on one gigantic text, with each new poem adding another fragment. An encyclopedic or analytical approach to Bērziņš’s poetry can hardly be imagined: first of all because it is impossible to define the tradition to which he belongs. To be more precise, Bērziņš’s ancestors are found everywhere: from the Sumerian cuneiform scribes and authors of the Old Testament to many modern writers, from poetic geniuses to anonymous authors of popular songs: everyone who has an intimate connection to words or, as Bērziņš puts it, "have exhaled the word". Because to Bērziņš language is not an instrument with which to describe the world or express a thought; to him, language is a live organism that finds its way out into the world through man and vice versa: man is fully alive in language. From here the reverential attitude toward the word: Bērziņš does not divide language into the vernacular and the poetic: everything "exhaled" can become poetic.
  Latvijas KultÅ«ras Kanons  
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Precīzāk, priekšteči Bērziņam ir visi un visur – sākot no senās Divupes ķīļrakstu autoriem un Vecās Derības rakstītājiem un beidzot ar bezgala daudziem mūslaiku autoriem, no poēzijas ģēnijiem līdz anonīmiem ziņģu sacerētājiem – visi, kas vien kaut kādā veidā saskārušies ar vārdu vai, kā raksta Bērziņš, "izelpojuši vārdu".
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Uldis Bērziņš (1944) has been writing an impressive epos his entire life; its subject is his relationship to language and the relationship of language to itself. Language and time are the central motifs in Bērziņš’s poetry, yet they are never separated. Bērziņš does not express thoughts so much as he creates them, sending the reader off on an expedition to a labyrinth of meaning. Although Bērziņš’s poetry is published in collections, one gets the impression that he is constantly working on one gigantic text, with each new poem adding another fragment. An encyclopedic or analytical approach to Bērziņš’s poetry can hardly be imagined: first of all because it is impossible to define the tradition to which he belongs. To be more precise, Bērziņš’s ancestors are found everywhere: from the Sumerian cuneiform scribes and authors of the Old Testament to many modern writers, from poetic geniuses to anonymous authors of popular songs: everyone who has an intimate connection to words or, as Bērziņš puts it, "have exhaled the word". Because to Bērziņš language is not an instrument with which to describe the world or express a thought; to him, language is a live organism that finds its way out into the world through man and vice versa: man is fully alive in language. From here the reverential attitude toward the word: Bērziņš does not divide language into the vernacular and the poetic: everything "exhaled" can become poetic.
  Latvijas KultÅ«ras Kanons  
  Latvijas KultÅ«ras Kanons  
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A. Birkerts : " Kas vienai kādā vietā iznāk labāk, ir otrai vājāk, bet smādēt un pelt jeb gaisos celt nevar ne vienas, ne otras. Majestātiskās, lepnās, pavēlošās vietas piedien ļoti labi Ērikai", savukārt Tijai Bangai "iznāk labākas tās vietas, kuras ir noslēpumainas, - ir vijīgāka, ir lokanāka – un mistiskāka zināmās vietās – ar vārdu sakot, ir pavisam citādāka. Un galvenais, katrai ir pie savas publikas daļas sava piekrišana."
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The atmosphere was complemented by the music and songs written for the production by Nikolajs Alunāns, dances choreographed by Mārtiņš Kauliņš, and the convincing acting. In Tija Banga’s and Lilija Ērika’s interpretation, Spīdola, the main character and strong female principle embodied, was complex and very different. Komplicētu un niansēs atšķirīgu Spīdolas tēlu radīja Tija Banga un Lilija Ērika. Birkerts : "One plays better in one place, the other in another, but it is impossible to unconditionally condemn or praise either one. Ērika is a better match for the parts where Spīdola is majestic, proud, regal, [Tija Banga], being more supple and lithesome, is better where Spīdola is supposed to be mysterious. And each has her own supporters among the audience." A great success in the role of the gentle Laimdota was Biruta Skujeniece. Ādolfs Kaktiņš as the male lead Lāčplēsis was also successful, but he started his music studies in Germany in 1913 and was replaced by Eduards Smiļģis. Director Aleksis Mierlauks was interesting in the complex role of Kangars tēlu; about Gustavs Žibalts as the Black Knight that symbolized oppression Birkerts wrote: "The black blind knight looks very black, very blind, and very terrifying."
  Latvijas KultÅ«ras Kanons  
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Latviešu tautasdziesmas pieder pie mutvārdu tradīcijas, kas krietni senāka par tās pirmajiem poligrāfiskajiem izdevumiem 19. gadsimtā un pirmajiem rakstveida dokumentējumiem 16. un 17. gadsimtā. Tām raksturīgas vairākas iezīmes, kuras tautas dzejas pētnieki attiecina uz arhaisku poētisko tradīciju.
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Latvian folk-songs belong to the oral tradition that is much older than their first printed and hand-written records from the 19th and 16th-17th century, respectively. They are characterized by several features that have been ascribed by researchers of folk poetry to an archaic poetic tradition. One such feature is, for instance, the magical nature of the songs and their close relation to traditions: a great number of folk-songs represent "commentary on a ritual" with the purpose of structuring the ritual taking place in family events or other festivities and to explain the magic essence of the actions performed. Another feature that is evidence of the age of the songs is the shortness of the texts, their structure, and the methods of stringing them together. Each quatrain in trochaic or dactylic verse is like a "snapshot" that expresses some observation, lesson, or feeling or describes some magical or practical act. As they were being sung, the texts were strung together in two ways: in tradition songs, in accordance with the sequence of the ritual, in other cases, in accordance with the theme, image, or a certain word. Latvians also know songs that are made after the model of lyrical songs or epic ballads widespread in Europe, but the older foundation is the stringing of quatrains without developing a narrative and attaching them to one, narrow range melody. Likewise, the contents of the folk-songs, dealing as it is with the everyday life of the peasant, is considered older than the theme of love. Their mythology is recognized as a good source of research into the archaic concepts of the Indo-Europeans.
  Latvijas KultÅ«ras Kanons  
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Neraugoties uz to, ka lībiešiem nav vienotas kultūrtelpas, ka parsvarā viņiem ir vismaz divas etniskās identitātes – lībiešu un latviešu –, kā arī uz to, ka lībiešu tradicionālā kultūra ir unikāla vērtība, kas atrodas uz izzušanas robežas, aktīvākā lībiešu daļa joprojām cenšas kopt un sargāt šīs vērtības. To nodošana no paaudzes paaudzei lielākoties vairs nenotiek ģimenē, bet gan izmantojot dokumentētos lībiešu kultūras (valodas, tradīciju, mutvārdu vēstures) avotus.
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The Liv villages in northern Kurzeme were the last territory in Latvia where the Livs lived compactly and had preserved their culture. Today, there no longer exists such homogeneous cultural area: the Livs live dispersed in various locations in Kurzeme and Vidzeme and, in higher concentrations, in Riga and Ventspils as well as Kolka and Tārgale parish. Despite the fact that that most Livs have at least two ethnic identities - Livonian and Latvian – and that the Liv traditional culture is on the verge of extinction, Livs are still trying to cultivate and protect their unique cultural heritage. That heritage is no longer passed from generation to generation in the family, but learned from other well documented sources (language, traditions, oral history).

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Dzīvojot cieši kaimiņos latviešiem, lībieši atstājuši nozīmīgu ietekmi gan uz latviešu kultūru, gan valodu. No lībiešu valodas ir aizgūts gan fonētiskais skanējums, gan daudz vārdu (piemēram, "sēne", "kaija", "muiža", "māja", "kukainis").
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Although they share much with the Latvians, Livs are not Balts: it is a Finno-Ugric people, whose language along with Estonian, Finnish and some other smaller languages, is included in the Baltic Finnish language group. Living in close contact to neighboring Latvians, Livs have left a significant impact both on Latvian culture and language. The Liv language inspired both the phonetics and vocabulary of Latvian (words "sēne" (mushroom), "kaija" (seagull), "muiža" (manor), "māja" (house), "kukainis" (bug) etc. are borrowings from Liv). Also in terms of traditions and customs, an interaction with the nearest neighbors, the Estonians and Latvians, has taken place, so many of them are similar, especially along the Kurzeme coast.