Teksti: Reeta Holma

In the coming years the Helsinki Baroque Orchestra, which focuses on early music, will delve into the history of classical music in the Baltic Sea region with the support of the Finnish Cultural Foundation. The three-year project, which is interesting both musically and in terms of cultural history, is big on the orchestra’s scale, says Aapo Häkkinen, artistic director of the Helsinki Baroque Orchestra. “Without external support, it would not be possible for us to engage in such large projects extending over several years.”

The northern dimension has received relatively little attention in the study of early music and performance practices, as more southerly German and Italian music has left it in the shadows.

Now, the musical heritage of the Baltic Sea region is brought to the fore in a new way. During the project, music from the middle of the 17th century to the beginning of the 19th century will be performed. For example, the flourishing art of the Hanseatic cities of the 17th century and the lively and international musical life of 18th century Sweden are highlighted.

The area of Finland at that time can be characterised as a musical backwater, but as a part of Sweden it was nevertheless closely involved in the cultural circle of the Baltic Sea. The biggest centres for art were elsewhere: in Hamburg, Lübeck, Stockholm and Riga.

“Cultural bridges were also formed to these cities from Finland, which we are trying to outline in this project,” says Häkkinen.

Concerts related to the cultural history of the Baltic Sea are organised at the Helsinki Music Centre, and the intention is to also go on tour with the programme in Finland and abroad. In addition to themed concerts, lectures and discussions, online seminars and publications are planned, which will help the music and cultural history of the Baltic Sea region reach audiences who cannot come to listen to the music.

“The seamless interaction of research and practical music-making is at the heart of the Helsinki Baroque Orchestra’s activities,” says Häkkinen. The orchestra’s artistic design heavily relies on research in musicology and music history, and a key part of its work is to bring out the previously unknown, historically important repertoire of early music. “Many of these unique works are even being heard for the first time since the time they were composed.”

The world of Kirsi Kunnas’s poetry is celebrated in 2024

Kirsi Kunnas (1924–2021) paved the way for modern Finnish children’s poetry with her collection Tiitiäisen satupuu (Tiitiäinen’s fairytale tree) in 1956. She created a world of child-centred poetry that understands a child’s world, plays with words, letters and thoughts, and speaks to adults as well.

Located in Lempäälä, the PiiPoo Cultural Centre, which operates regionally and nationally, is planning a Kirsi Kunnas centenary year for 2024 to celebrate the literary heritage of Kunnas. As a result of the cooperation of a large number of organisations, an artistically diverse programme is being created. Based on equality, poetry, the power of thinking, kind-hearted anarchy and playfulness, the project invites people of all ages from different parts of Finland to come along.

“Kirsi Kunnas practically gave birth to the genre of children’s poetry in Finland, which is a huge thing. She was a significant figure in cultural history and an artist of the entire nation,” says PiiPoo’s executive director Pilvi Kuitu. “Kirsi’s poems are not glossy images. They have unruly children and all sorts of life in them. I hope that the centenary year will also have the flavour of life and not be a mausoleum.”

Kunnas talked a lot about supporting children’s linguistic development and how words and language are the key to expanding thinking. Playing with language, enjoying the rhythm of poetry and having fun with rhymes were the cornerstones of her poetics.

“There is a lot of talk these days about challenges in reading. If reading is a technical achievement that lacks the ability to enjoy playing with language, it lowers motivation,” says Kuitu. 

The centenary year invites cultural actors all over Finland to celebrate Kunnas in the spirit of playful and kind-hearted anarchy; to raise the themes of children’s poetry, the joy of reading and poetry aimed at adults into a common discussion; and to train preschool and elementary school teachers to use poems and literary art in their work. The project also extends beyond Finland’s borders as a collaboration with Finnish schools operating around the world. 

According to Kuitu, Kirsi Kunnas had a strong idea that children are artistic actors, and that play is art and art is play. She tells a story about her childhood when she lived with her family in Ylöjärvi and went to a poetry club on Saturdays.

“One Saturday, a woman came to the poetry club with whom we created rhymes and poems together. She became very enthusiastic about us children and what we were doing. I remember how she looked at us admiringly. At that moment, I realised that I became visible through art and was a colleague of hers – an artist myself. The woman was Kirsi Kunnas, and this meeting has showed the way to my own path in culture.”

The Helsinki Baroque Orchestra Association was awarded 110,000 euros for the implementation of the Cultural History of the Baltic Sea in the 18th Century project, and the Friends of PiiPoo Cultural Centre association received 100,000 euros for the national Kirsi Kunnas 100 cultural project in 2023.

Text: Elina Venesmäki

Could lost heat be recovered more efficiently? This is the subject of research for Ph.D. Antti Karttunen and Ph.D. Maarit Karppinen and their teams at Aalto University.

The Finnish Cultural Foundation decided to grant EUR 1,25 million euros in funding on the theme of “new materials and technologies for the green transition”. Karttunen and Karppinen’s teams were among the grantees.

“We are researching how to turn heat loss into electrical energy,” Karttunen says.

Say someone burns wood in a fireplace to save on heating energy, for example; could they collect the extra heat and turn it into electricity to charge their phone?

Our researchers are looking into this. Server rooms, for instance, generate huge amounts of heat, but usually it is fanned out. In Finland it is used for heating in winter, but at other times and in other parts of the world it is mostly just lost.

That doesn’t have to be the case. The scientists are focusing on a technique called atomic layer deposition (ALD), which creates thin films. These are used to turn heat into electricity.

Karttunen demonstrates a device smaller than a mobile phone, that is already capable of doing so.

The technology is already 50 years old, but it has two problems: first, it is not very efficient; second, it involves rare metals, which means it cannot be universally applied.

These are the issues Karppinen and Karttunen are looking to solve in order to make the technology widely reproducible.

“We want to use a material that appears commonly in the earth’s crust, such as iron,” Karttunen says. The metals currently used in the devices are also toxic, so they are searching for a safer material.

Heat loss is everywhere

An electric car’s batteries produce heat loss, as do industry, computer rooms and even the human body. Could a film created through ALD be added to a sports shirt and the heat generated during a gym session be used to charge a mobile phone?

“Collecting heat from a gym shirt is a small step, of course. But electric car batteries and data centres generate huge amounts of heat that is wasted in most parts of the world.”

These issues mentioned earlier must be solved before anything major is created. So where could one find a commonly available, safe material, and how does one make the device as efficient as possible?

The research team has access to an ALD machine around one metre in width, height and depth. A test piece can be placed inside, and it will be coated in a film that collects heat and turns it into electricity.

“Green steel production is currently a hot topic. Soon steel manufacturers will be able to use hydrogen, which will cut carbon dioxide emissions. This is fine, but it will still generate huge amounts of heat loss,” Karttunen says.

Novel solar cells

Professors Jussi Toppari and Gerrit Groenhof and their research teams at the University of Jyväskylä are also working to further the green transition. They received the same funding to create more efficient and ecological solar cells.

Currently there are two types of photovoltaic cells: organic and inorganic (semiconductor-based).

The efficiency of organic solar cells is only just over 10 per cent. Semiconductor-based solar cells are mostly seen on ordinary roofs because they are much more efficient and durable than organic ones, but even their efficiency is not great. Typical silicon solar cells capture and process around 30 per cent of the energy radiated by the sun.

Toppari and Groenhof want to take this further: they want to collect energy from a large area onto one or a handful of molecules, from where it goes into storage.

“We are already able to make molecules transfer the energy they receive from light really efficiently from a large area onto one molecule. The bottleneck is how to move it on from there,” Toppari explains.

Target: more power

The subjects of study here are on a very small scale, measured in nanometres (one billionth of a metre).

There are many molecules that can collect photons, i.e. absorb light. Having absorbed a photon, the molecule becomes energized. It can transfer this energy on to another molecule, for example, or emit an electron, which creates an electrical current. This is the operating principle of some organic solar cells.

“We are taking this further in that the photons are not absorbed directly into the molecules but become coupled with metallic nanostructures. This turns the light into a surface plasmon, which becomes coupled much more strongly and with several molecules at a time.”

The surface plasmon and the molecules form a single space among which the energy spreads. This permits high-speed energy transfer between the molecules. The scientists intend to utilise this property in a new type of cell.

They have already demonstrated that light can couple with several molecules. This three-year grant period will focus on how the energy can be passed forward once it is collected.

“This period gives us time to build a prototype and prove that it works.”

Teksti: Emma Nikander

Ancient DNA can reveal a lot about the history of people and the environment. At the same time, it can provide answers to some of today’s most pressing questions, such as biodiversity loss, climate change and pandemics.

The boring of sediment samples from the soil provides data from a very long time period: so long that it could not be accessed in any other way. For example, the deepest sediments of our 10,000-year-old Baltic Sea contain records of the sea’s whole history. Samples can be used to study the sea’s ancient and current organisms and to obtain information on the state of the environment during various periods.

Geneticist Petri Auvinen and his team are running a project examining two types of samples that take them on a journey far back through time. In addition to sediment samples from the Baltic Sea, they are boring a second series of samples from a bog in Tammela, whose deepest parts can provide data on a similarly long period.

If DNA can be isolated from these samples, scientists can examine it for evidence of the historic microbes, flora and fauna of the region. The samples may also show what the soil was like and what happened to it when the climate changed.

This may help us to understand our current climate change, Auvinen explains: “It is easier to predict the future when you know what has happened in the past. Marine sediments and marshlands have been recording conditions for thousands of years without asking any questions. In this case, we can use history to reach into the future.”

What did the people buried at Levänluhta die of?

Studies of ancient DNA can also provide valuable information on people’s lives. A project conducted by Professor Antti Sajantila and his team is examining ancient DNA from remains recovered from two different kinds of burial sites from different periods. These are the tar pit grave in Ruukki, south of Oulu (northern Finland), and the waterlogged burial site of Levänluhta in Isokyrö (South Ostrobothnia) and the nearby Käldamäki burial site.

Besides the people who died, the team is interested in the viruses and bacteria they carried. By studying the human and pathogen DNA in the remains, the team is seeking to find out who the deceased were, what population group they belonged to and anything about their state of health or cause of death. They also want to know when the people lived and what they ate. Were they related? That can also be revealed using molecular research.

The Levänluhta burial site has been known since the 1670s, and it has been investigated using different methods for over a century. Diverse theories as to how the bodies ended up there have been suggested over the years, explains Professor Antti Sajantila of the University of Helsinki.

“The Ruukki area seems to be a burial site from a specific time period, whereas Levänluhta appears to contain remains spanning several centuries of the Iron Age.  And not just human remains but also animal ones. Perhaps our research will show whether they died of an epidemic or of malnutrition, for example.”

The multidisciplinary research team includes experts in molecular genetics, forensic pathology, molecular virology and isotopes, as well as archaeologists. “Information produced by a single discipline would be significantly less valuable without the other fields to support it,” Sajantila says.

Data on the movements of hops and apples

Information on ancient peoples and their ways is not only obtained by studying human DNA. Samples found at two archaeological sites – Stone Age Humppila and Medieval Turku Cathedral School in Finland – may generate data for example on the strains of hops and wild apple used in Finland. They are being studied by biologist Sanna Huttunen and her team at the University of Turku.

“We are trying to find out, among other things, what strains were used in various parts of Finland, are they related to today’s heritage or wild varieties, and how they spread,” Huttunen explains.

This information will then be compared with historical and modern data possessed by scientists at the Natural Resources Institute of Finland, Finland’s museums of natural history and individual researchers, among others, who are partnering with the project.

In Humppila (southern Finland), Stone Age strata have become buried in layers at the bottom of a paludified (filled-out) lake. The flora and fauna preserved in the peat can now be identified more accurately than before, using DNA barcoding. After that the team can examine whether they show evidence of settlement from 4,000 years ago. DNA methods can also be used to identify flora and animal remains that have previously not been recognised. This can show whether some of them were farmed grains, for example.

“That would be one of the earliest signs of agriculture in Finland,” explains the team’s archaeologist Mia Lempiäinen-Avci from the University of Turku.

Hops were very widely grown in the Middle Ages – almost by every household. Genetic data can show us how people spread various strains of the plant. Here, too, the past can help us equip for the future: if a specific strain of hops appears to have survived through the ages, it may have potential to cope well in the uncertain times ahead.

The samples are already in existence, so there is no need for new digs. Therefore the project will focus on examining them with microscopes and in labs, Huttunen explains. Every member of the multidisciplinary research team has their own areas of responsibility and expertise.

“The starting point for the research was that we have access to expertise and diverse data that can be seamlessly combined to achieve results that no one could produce by themselves.”

Demand for ancient DNA research

The 2022 Nobel Prize in Physiology or Medicine went to biologist Svante Pääbo, who ran research that revealed the Neanderthal genome and led to the discovery of a whole new human species. The prize had a significant impact on the status of ancient, environmental and sedimentary DNA research, mentions Sajantila, who himself worked in Pääbo’s laboratory at one point.

Until now, ancient DNA research has lagged behind in Finland, and our extensive bodies of data have been under-researched, according to Lempiäinen-Avci. “I am thankful that the Finnish Cultural Foundation supports this highly necessary topic.”

“This kind of research teaches us to value our history and our special characteristics. All sorts of things may be revealed once we begin to examine data that has previously received little attention,” Huttunen explains.

In 2023, the Finnish Cultural Foundation granted EUR 2 million in funding to research projects focusing on ancient, environmental and sedimentary DNA. The aim was to increase cooperation between research teams from various disciplines, thereby strengthening the field as a whole in Finland.

The sciences received 55% and the arts 45% of the grant funds. A total of 447 full-year working grants were awarded, of which 295 in the sciences and 152 in the arts. The most full-year grants were awarded for doctoral dissertation work. 128 multi-year grants were awarded, of which 91 were for two years, 34 for three years, and 3 for four years.

Scientific studies on, e.g., the health effects of gluten and poverty among employed people

– We also received very high-quality applications for the so-called extra million granted for an annually different theme, which this year was research on nutrition and health. There were 70 applications, of which seven received funding amounting to a total of 1.37 million euros, says Hanna Hiidenpalo, chairperson of the FCF’s board of trustees.

Recipients of this year’s “extra million” include the following:

Professor Katri Kaukinen and Associate Professor Kati Juuti-Uusitalo for research on the positive and negative health effects of gluten (University of Tampere, €250,000), Professor Kaisa Linderborg and her working group for research on the overall health effects of oats (University of Turku and University of Eastern Finland, €200,000), Professor Eeva Moilanen and her working group for research on the health effects of nutrition and on the connections between nutrition and medication (University of Tampere and Tampere University Hospital, €200,000), Professor Ursula Schwab and her working group for research on the connection between genes and lifestyles in the prevention of lifestyle diseases (University of Eastern Finland, €250,000), and Associate Professor Keijo Viiri and his working group for research on molecular damage caused by dietary gluten in coeliac disease and on the disease’s treatment (University of Tampere, €200,000).

Additional major grants were awarded to Associate Professor Marjo Helander and the GLYFOBEE working group for research on the effects of glyphosate on the gut microbiome and learning processes of wasps (University of Turku, €200,000) and to Mikko Jakonen and his working group for research on the employment situation, social welfare, and everyday life of employed poor people (University of Jyväskylä, €180,000).

– Thanks to donor funds, we will be able to support especially music students this year. In the sciences, we can sponsor technical sciences and pharmacy well, whereas there are less funds available for philosophy and for political and cultural research, for example, explains Juhana Lassila, the FCF’s director of cultural affairs.

Support for Romany and Sámi cultures

Five grants related to Sámi culture were awarded and four grants related to Romany culture. Mark Aitken received €25,000 for postdoctoral research on trauma, empathy, and Sámi knowledge in the age of Arctic exploitation. Maria Nätynki received €26,000 for doctoral dissertation work on Sámi touch culture. Hilja Grönfors and her working group received €71,000 in the form of an Art for Everyone grant for organising a music and film tour in prisons, child protection centres, and hospitals about Romany culture. Antti Kivimäki and his working group received €6,000 for artistic work of the ensemble Orkestra Suora Lähetys, which has a Romany background.

Art for Everyone grants enable activities in prisons and refugee reception centres

Eight Art for Everyone grants were awarded, amounting to €350,000. The goal of these grants is to give more possibilities to experience high-quality culture to people who need support or care and thereby increase cultural equality.

Art for Everyone grantees include the following: Kai Maksimainen and Seppo Kirjavainen, €39,000 for writing workshops in prisons. Katriina Haikala and her working group, €71,000 for the community art project Women’s Room, one of whose goals is to make use of artistic working methods to empower women threatened by homelessness. The dance institute Vantaan tanssiopisto, €35,500 for organising dance workshops in reception centres for refugees. The theatre Legioonateatteri, €34,000 for a project that uses arts to promote the autonomy of intellectually disabled people. Teatteri Telakka, €38,000 for preparing a performance about the history of intellectually disabled women.

Grants from the regional funds in the spring, special grants in March

The FCF will award grants totalling about 50 million euros in 2022. Grants totalling 27 million euros in the Central Fund’s October round of applications are being awarded now, and 13.5 million euros will be awarded in the regional funds’ January round of applications. The rest will be awarded through the post doc pool and the FCF’s March and August rounds.

In March, the FCF will accept applications for instrument loans, mobility grants, and Argumenta grants for scientifically interesting topics and for topics of far-reaching importance for society. A new kind of cultural support will be created that publishers of Finnish translations of high-quality world literature for adult readers can apply for.

In addition, the FCF will use funds to benefit culture through various projects. The total support for culture during the financial year will amount to about 60 million euros.

All the grantees of the October round of applications of the Central Fund can be found here.

Text: Marika Aspila

Having designed costumes for 35 years and for more than 100 productions, including tens of thousands of individual pieces of clothing, Pasi Räbinä knows the materials and how they are treated. He has worked full-time as a costume designer at the Oulu City Theatre since 1991, but he has also always simultaneously worked as an independent artist and designer and received awards as a stage costume innovator and pioneer. 

– I’ve consistently developed various fabric treatment techniques and thereby come closer to results in which the fabrics themselves are interesting, Räbinä recounts.

With the grant money he just received, Pasi Räbinä is starting a project in which he will study promising new ecological clothing materials for use in costume design. Climate change, loss of biodiversity, and overexploitation of natural resources require quick changes at all levels of society. Costume designers, who design hundreds and thousands of pieces of clothing for theatre and opera performances, also have to seriously ponder what they can design in the future, what materials they can use, and what to do with the hundreds of costumes after the last performance of a work.

– My plan is a pioneer project like we haven’t had before in Finland. My goal is to increase awareness of sustainable development in our field, says Räbinä.

– The challenge for the future is how can we reduce textile waste to hurt nature less. In my opinion, it’s crucial to influence how designers work already at an early stage and get them to think while making costumes what kinds of materials would be sensible for sustainable development and the circular economy. The concept of “circular economy” in my research doesn’t mean only recycling; instead, it means a comprehensively new approach to the manufacturing of clothing and materials. The idea is to strive towards reuse of most pieces of clothing used for costumes. My goal is to help costume designers by developing a model and way of working in which the costumes of a performance are designed to last long and be recyclable.

According to Pasi Räbinä, the Finnish clothing and textile industry is a trailblazer in the development of new ecological textile fibres. Metsä Group and Stora Enso are developing promising new materials and innovations. Spinnova is a Finnish pioneer in the conversion of wood-based cellulose into textile fibres using the Ioncell process. From the perspective of recycling and a circular economy, the Finnish Infinited Fiber Company is already far along in its product development of turning textile waste into new textile fibres.

– The goal of these companies is to make cloth fabrics that are more environmentally friendly and use less natural resources. I intend to familiarise myself with their activities and manufacturing methods and apply my research to my costume design, Pasi Räbinä explains.

Costume designer Pasi Räbinä, M.A., received a grant of €17,500 for research on the use of ecological materials in costume design.