Enseñanza de las competencias disciplinares

The changes occurring during the post-war decade not only reflected on the political, economic and cultural levels of Finnish society, but also on the character of the society in general. The social advances, such as the growth of urban areas and the mechanisation in the Finnish countryside, have already been discussed. What should briefly be pointed out here is the extent to which American influence was evidenced within a wider general public; how Finns began to spend their leisure time; and how Finland was presented abroad in terms of architecture and modem design, which reached an international popularity during the 1950s.

One of the peculiarities of the 1950s was the existing confrontation between the old and the new. The old was represented in many and various ways in Finnish society. In one way, it was embodied in the analysed older generation, who carried the traditions of the inter-war period. After the war, there was a tendency to keep up the cultural and social manners of the 1930s, which were violently interrupted by the war; however, such chances were restrained and limited.

Outside university circles, the old was enhanced in the atmosphere of post-war Finnish society, which remained strongly agrarian until the second half of the 1950s. The picture of an impoverished peasant who sent his son to Helsinki to get an education, and who warned him against the ‘dangers’ of urban life, was still common during the 1950s. It was a characteristic perception of the contrast between a ‘pure but tough’ countryside and the ‘dirty’ town. The countryside maintained its cultural and political traditions Culturally speaking, examples might be taken from music and fashion. Finnish and continental popular songs, and the so-called hit melodies, iskelmat, were most popular there^®*, with a little impact of jazz, swing and more recently, rock and roll. Moreover, women dressed simply, in a dress with an apron and hair covered by a scarf. The use of make up was limited, if any. Politically, the countryside kept its inter-war patriotism, with a large support for the Agrarian Party.

The new, associated with modernity, was mostly represented by the younger generation, who were free o f the inter-war political and cultural burden, and thus enjoyed the new post-war opportunities. Although most of the younger generation had their origins in the countryside, they began to get used to the urban life. The American

4 ^ ^ the cultural atmosphere in Finland during the 1950s f # f

influence was further more visible in the towns than in the countryside, where the access to new trends was less feasible. Culturally speaking, the popularity of jazz, swing and rock and roll won over the old melodies among the younger people. Although, jazz and swing had arrived in Finland through Sweden by the end of the 1920s, rock and roll did not come until 1956, with the first performance of the American film Rock Around the Clock^^^. The new trends in music apparently influenced fashion, as well as the Hollywood movies^ However, despite James Dean’s pair of jeans, the dress code was, in general, still very formal with the elegance of the pre-war period. A special emphasis was put on a cigarette, clearly a male ‘aeeessory’^^'.

In 1956 rock and roll came to the Finnish countryside (Kari Suomalainen)

^^^Seppanen 1996:131-134; 142-143. Nyman 1997:259.

Movies definitely influenced fashion; the elegance o f women such as Eva Gardner, or a pair o f jeans as worn by James Dean were the dreams o f many Finns by the end o f the 1950s (Kolbe 1993:271; Seppanen 1996:143). Moreover, American films were also one o f the means by which Finns became acquainted with the American, specifically H ollywood, image.

Seppanen 1996:238. A woman with a cigarette was regarded as highly asocial. Moreover, it is worth mentioning that smoking had a different connotation in the 1950s than it has now. If a cigarette belonged to a Hollywood star as a necessary accessory (which was also obvious from the advertisements), in more recent m ovies only a few still smoke publicly.

^ 4 4 the cultural atmosphere in Finland during the I950s4 4 4

This reflects the fashion and culture o f the youth in the 1950s. (Kari Suomalainen)

— Kun mirwsterit fs muut pit karjut tàssytiâà el tulevai- su u a on txKisevan poiven kâ- sissâ. niin n e tarkottaa sillon m eità Eiks o o vankeâ?

(' ■Lâttanatut” o» e rœ im m âin e n

so d a n jA lk e ifie n nuo riao p otv i.)

Although it appears that the younger generation was politically more open- minded, due to the lack of inter-war political experience, the notion of political awareness was easily recognisable within their political involvement. In fact, the cautious Realpolitik was the link between the older and younger generations. The ability to lead a dialogue with each other was peculiar for the 1950s, especially if compared with the 1960s, when the mutual comprehension disappeared^'^. This was certainly influenced by the immediate post-war atmosphere which, more or less, required co­ operation. Again, the war events were respected by both, as most participated in or grew up through the war. This was not the case in the 1960s, when the issue of the war, in terms of the 1960s political scene, brought a major disagreement.

Leaving the question of a generational confrontation behind and looking further at the new trends occurring during the 1950s, it might be argued that with the growth of affluence, Finns began to discover the pleasure of a wider set of hobbies, and other ways of spending their leisure time. One of such changes was seen in the widening interest in literature related to gardening, cars, home design, and travellings'^. New magazines specialising in these issues began to be published, offering both new social

Aron (1983: 212-213) recalled the growing differences in the political perceptions between the older and younger generations during the late 1960s.

Lassila 1990:193.

f 4 4 the cultural atmosphere in Finland during the 1950s 4 4 4

topics and modem graphic appearance, as the emphasis started to be put on a better print, on pictures and colour effects^

One o f such magazines, which has survived until today, is Seura (Society). The first issue came out in 1947, and with its focus on the entertainment o f every member of the family, it became an important part of Finnish society. Its popularity grew, especially during the 1950s, with reports on the Olympic Games, and the Diary o f Armi Kuusela, the Miss Universe o f 1952, from her trip to the United States^

In general, magazines for women became very popular after the war. With the improvement in the labour market, women were partly liberated from everyday worries which the war left behind, including food scarcity. They had more time to devote to fashion and taking care of themselves. The traditional position o f women, in terms of the Kirche- Küche-Kinder began slowly to change^^^ as women from the war period started to work outside their homes. Women’s magazines showed the latest fashion tricks and provided them with practical information. In 1952, a new type of women’s magazine came out, Naisten Maailma (Women’s World), which differed from the old magazines not only in its colourful graphics, but also in its content. Articles mainly pertained to fashion, food, design and the lives of famous people, such as royal families. Many articles were written not by Finns, but were translated from similar foreign m a g a z in e s ^ In the same year, another magazine for women began to be published. Me Naiset (We Women) which, with its slogan “for modem woman a modem reading”, became one of the most popular^

Tabloid magazines were becoming popular in Finnish society. At the beginning of the 1950s, Ann (Help) came out with a focus on scandals and unveiling secrets from the life o f popular Finnish figures. Kekkonen was usually one of those whose secret love life filled the pages. During the 1950s, most of these new gossip magazines still

Malmberg 1991:133.

Malmberg 1991:145. Armi Kuusela, is often regarded as a symbol o f the 1950s. As Antti Eskola recalled (1983:52-53), Kuusela was an example of the Finnish countryside girl, succeeding abroad by her

Finnish beauty, who refiised to take a role in Hollywood rather than live in Finland. However, her later marriage to a Philippine man disappointed many Finns, but her life was still one o f the most discussed apolitical topics during that period.

Ylioppilaslehti 1953, # 12. An article written by Klaus Tômudd about the necessary changes in the role o f women.

Malmberg 1991:222.

It might be of interest to mention the attempts of Violet Erkko (wife of Eljas Erkko) to create a magazine for women which would focus mainly on the English and French prêt-à-porter fashion. The magazine. Chiffons, was published only in 1952 as it did not find sufficient readers.

^ ^ ^ the cultural atmosphere in Finland during the I950s4 4 4

had a kind tone as M alm berg^observes; their articles were not insulting, nor did they reveal private issues.

The growing trend in magazines of good graphic quality, and the inclusion of a lot of pictures to catch the attention of the reader contributed to the development of advertisements. After the war, advertisements and posters became simpler yet more sophisticated and made a greater impact. An ambitious slogan was usually added to a picture, which attracted more people as text and image were combined^^^. The advertisement industry was mainly under American influence, many products being promoted used the American image of a successful young man or woman. As one example might be manifested the name of Finnish cigarettes Boston or Life. Their names, particularly Boston, attempted to invoked an American atmosphere, which had a connotation of modernity and progress^^'.

An example o f an advertisement for Boston cigarettes (Ylioppilaslehti. 1954, #19).

KWkinwka* 9*n- MMUWW B o s m 519 520 521 Malmberg 1991:149. Aartomaa 1997:248-250.

Recently a book has been published on the advertising industry in Finland during the post-war years (Heinonen 2001).

the cultural atmosphere in Finland during the 1950s # # #

Besides the popularity o f magazines and the growing impact of advertisements on the level of the consumption, there is another issue which is worth mentioning regarding the new trends. If it is claimed that during the 1950s, the interaction between Finns and the world around them was toughened by the Finnish conservatism, which often limited any deeper international co-operation, Finnish design and architecture was a clear exception. Finnish design was important during the 1950s, when it continued the promising development of the 1930s, which was served by the war^^^. However, the major difference between the inter- and post-war periods was in its presentation. During the 1920s and 1930s, Finnish art and architecture were more or less cormected with the creation o f the national image, upholding the ideas o f Finnish patriotism. After the war these were among the few fields which were under international influence, as many designers and artists travelled abroad and were well prepared to exchange ideas with their foreign colleagues.

Finnish design became famous during this period for its functionality. Its raison d’être was, as expressed by designer Ilmari Tapiovaara (1914-1999), “design for needs”^^^. Finnish design celebrated its success in the Milan Triennial, especially in 1951 and 1954. Among the leading designers were Tapio Wirkkala (1915-1985), a glass designer, celebrated in the 1950s for his vase ‘Atom bomb’, and later well known for the design of the Finlandia vodka bottle; Ilmari Tapiovaara, an interior designer, famous for his project of Domus Academia, the student dormitory house in Helsinki; Kaj Frank (1911-1981), a designer of the porcelain factory Arabia, whose dishware Kilta (Guild), a project supported by Wilhelm Wahlforss, was, for all its simplicity, paradoxically, one of the most popular products in the history of Arabia. A little in the shadow of the male designers stood a female glass designer, Nancy Still (1926-2001), who was one of the prize winners in the Milan Triennial in 1954 and well respected abroad for her pure glass creations^^"^.

However, female designers led in the field o f textile design, which saw its birth during the 1950s, mainly through the merits o f Armi Ratia (1913-1979) and her company Marimekko^^^. Her leisure-time clothes, two colour striped dresses and T-

Aav 1997:68-73. Aav 1997:304.

Naimy Still lived and worked mainly outside Finland.

Leena Manula (Helsingin Sanomat 20.05.2001). Ratia registered its trade mark in 1951. After Ratia’s death, the company lost its originality and almost fell into bankruptcy when in 1991, Kirsti Paakkanen brought Marimekko back to its success.

the cultural atmosphere in Finland during the 1950s # # #

shirts became popular not only within Finland but also, as is often emphasised, in the United States, where she began exporting in 1959^^^. Marimekko enjoyed its main boom during the 1960s, when as Smeds recalls, a Marimekko T-shirt was an essential part of a woman’s wardrobe, and represented ‘a uniform for the intellectuals’

{alymyston univormuf^^.

The high recognition of Finnish design contributed to creating a new image of Finland abroad, which also awoke an international awareness of which Finns could be proud. Architecture as well as design had its significance in terms of the presentation of Finland abroad. As its representative, the widely acclaimed Alvar Aalto (1898-1976) maintained, Finland was a special country regarding its language, which few could understand and thus communication between Finland and the outside world was hard. However, architecture could easily link Finland with the great world, as the language of architecture was intemational^^^.

Post-war Finnish architecture, similarly to design, was characterised by its simplicity and functionality. Attention was placed on the use o f wood and raw materials, to achieve a symbiosis with nature. With post-war reconstruction in full effect, and the increase of urban areas, the architects tried to maintain the interaction between town and nature, by preserving the character of the landscape. Besides Alvar Aalto, Aulis Blomstedt (1906-1979) and Heikki Siren (b. 1918) might be mentioned in the context of the post-war decade^^^.

The cultural atmosphere characterised on the one hand by its crisis of identity together with the strong veneration of the Finnish past, and on the other hand by the progress of social science and the American influence, had an impact on the members of the cultural elite. The older generation had to go through the process of adaptability and to challenge new opportunities. To what extent it might be considered a smooth process, and to what extent the older generation contributed to the recruitment of the younger generation into the elite will be explored next.

It is often emphasised that Jackie Kennedy discovered the pleasure of Marimekko’s simplicity when she purchased a few dresses.

Kerstin Smeds 16.05.2000. Manula (Helsingin Sanomat 20.05.2001). Aalto (Uusi Suomi 8.11.1960).

The wife of Aulis Blomstedt was a daughter o f Jean Sibelius. Also Siren’s father, alike Blomstedt’s, was an architect.

In the long run, history can be viewed as a series of trial and error experiments in which even the failings of men have a tentative value and in the course of which the intellectuals were[are] those who through their homelessness in our society were [are] the most exposed to failure^^”.