As a shy kid, I wasn’t usually the one to be picked first for team sports or activities at school. I knew I had value but didn’t know how to articulate it. I remember too, that when others were being left out, I was compelled to do my best to make them feel included. I also felt that there was something very Estonian in wanting to do so – with Estonia being a small country that has often been pushed around, having to be scrappy about carving a seat at the table for itself. What’s always been important to me is to give room for others to bring their best game, to give others the opportunity to grow, and to shine – that excites me to no end.
Like much in life, I nurtured the beginnings of EstDocs while not knowing if anything much would come of it. I remember the phone call from Aarne Vahtra, a talented, thought-provoking artist I admired. I was standing in my kitchen holding the receiver of the phone hanging from the wall, with Aarne on the other end, back in early 2005. Aarne was telling me about a film critic, Olev Remsu, who taught film in Estonia, that he had a suitcase full of films he wanted to show in Canada, and would I take this on? I don’t remember the rest of the conversation, but I remember the wheels turning in my head, I was thinking about the possibilities.
Again, people come to mind who pitched in to help that first year. There were meetings, with Aarne Vahtra and Vaado Sarapuu, who had made a name for himself in Estonia with organizing mega extravaganza events, something many Canadian Estonians still don’t know today. The group slowly grew. We had the films, had secured funding and the venue of Tartu College, with the organization having presenting status. I had decided to call it a festival – if the whole thing was a dud, so what, nothing would be lost. From the days of helping to market ESTO 2000, I knew the importance of getting the word out to the community – a marketable, printed image, or face. Marcus Kolga came on board to create the first program guide. There were several late nights together on the phone working out the layout, proofing. The end result exceeded all expectations. His cover design was stunning, the look of the booklet was on par with any professional guide anywhere and set the tone for subsequent program booklets. The design of the then edgy first EstDocs logo was part of this osmosis, a gift from Marcus.
We were pleasantly surprised that the event had legs, people came, and they wanted more. It was a no-brainer, there would be another festival the next year with all those who had pitched in for the first one willing organizers for the next year.
I did blow too much money on catering, which resulted in the first EstDocs ending up in the hole. I remember having to explain this to the funders at Tartu College but remedied this for the second year of EstDocs.
Ellen Valter joined the EstDocs team for the second year and was an immense boon. By the third year I had exhausted my reign and though Ellen was apprehensive at first, I invited her to lead EstDocs. I’m glad I did, since she took it to dizzying new heights during her six years as lead, expanding its reach in Estonia and to the Canadian public, and adding the ever-fun step-and-repeat photo taking opportunity for the EstDocs public.
After all the energy Ellen poured into EstDocs, it was hard to find a new director to take over. Ellen suggested folding EstDocs, though the team wanted to keep going. Fortunately, Ellen did find a replacement in Kristy Doughty, who again broadened the scope of the EstDocs Festival with fresh ingenuity – one year she highlighted the ills of fast fashion with Estonian designer Reet Aus hosting a fashion show of her work; another year she expanded EstDocs activity to Hamilton’s Cotton Factory and even created a pop-up restaurant event by bringing a successful restaurant owner and chef to cater from Estonia. The popularity of EstDocs remained high, though it became exceedingly challenging to keep the interest of the younger generation. Through the years, it is no secret that the festival took a large toll on all the directors. We gave our best to EstDocs, and then some.
In the 15th year of EstDocs, the organizers were willing to continue, so I stepped in as director of the festival. The following years were unprecedented. Unbeknownst to all the world, a pandemic was unfurling, which shut down events worldwide for a good part of the following two and a half years. At that point, EstDocs organizers had run out of steam.
And we come to today. Until the day when someone picks up the baton again to direct EstDocs, the brand will remain within the safe harbour of the Estonian Museum Canada (EMC), the new English name for VEMU.
EstDocs captured the vision of Estonians, not only in Canada and Estonia, but around the world. Film entries for the EstDocs Short Film Competition (which ran for 11 years within EstDocs) came from many different countries and for most of these years was directed by Tauno Mölder.
A digital archive of EstDocs festivals has been compiled and given to the EMC.
The task of thanking people who helped grow EstDocs through the years is a bit daunting in that there is always the chance of leaving some of the many names out. So many people gave of themselves selflessly and willingly. A public thank you with names will appear in the Canadian Estonian media in the following weeks.
Though parents are teachers to their children, we also learn from our children. EstDocs has taught me the value of the human spirit, that we are all interconnected, and when we focus on the value each one of us can bring to a common endeavour, we will all shine together. That the short time we are given breath on this Earth is to be valued through those we love.
