Paper short abstract:

Estonian national dance conveys the idea of 'pristine ethos' of being Estonian, thus reinforcing the 'affective community' of a nation. The practice of performing national dances is part of participants' lived experience. Its convincingness, however, also depends on the current political context.

Paper long abstract:

Estonian national dance has been repeatedly criticized by professional folklorists as well as members of the folklorism movement for having moved too far from the 'authentic' ways of traditional dancing. Indeed, national dance with its disciplined training system and choreographed mass spectacles can be viewed as an 'invented tradtition' that bears a tint of Soviet legacy. Yet it is increasingly appreciated, whereas attemps to popularize more 'authentic' forms of dancing remain marginal.

Leaving the contested question of authenticity aside, it can be argued that the established style and repertoire of national dance conveys a shared idea of what the 'pristine ethos' of being Estonian is like. Relatively slow and calm execution of a certain movement vocabulary, sets of clearly defined national costumes and music, as well as heightened emotionality of some 7-8 thousand people dancing in unison, all reinforce the nation as an 'affective community'. It allows the performers and the spectators alike to become contemporaries with their envisioned ancestors. Following Paul Connerton, it can be said that performing national dances is thus not just a representation, but rather a re-presentation of the imagined past that allows the participants to feel more Estonian.

The almost centennial practice of performing national dances is part of the lived experience of participants and could be interpreted as a living tradition on its own. However, it is important to bear in mind that the convincingness of these performances also depends on the current political context.