Culture
Espoo hosts a Museum of Modern Art called EMMA (Espoo Museum of Modern Art), built in a renovated old print house, the WeeGee house, named after an old book print company Weilin & Göös. The same building hosts also Finland's only Museum of Horology (Finnish: Kellomuseo, Swedish: Urmuseum) and a Toy Museum. In Tapiola (Swedish: Hagalund), is located the Espoo cultural centre, where numerous concerts and theater performances are held.
Espoo has several manors two of which are open to the public. The most important is Espoon kartano (Swedish: Esbo gård, Espoo Manor), mentioned first time in 1495, and belonging to the noble Ramsay family since 1756. The current main building dates from 1914, but a mill dates from the 1750s and Finland oldest walved stone bridge from 1777 is on the King's Road (Finnish: Kuninkaantie, Swedish: Kungsvägen) which passes by the manor. The main building can be rented for weddings and similar occasions. Guided tours on request for groups. The other manor open to public is Pakankylän kartano, located on the northern shore of Lake Bodom. The manor hosts a restaurant and club rooms, partly with original furniture open to the public, but meant original to Kaisankoti sanatory and old people's home located on ground of the manor.
The Metal band Children of Bodom comes from Espoo, Finland. They are named after the unsolved murder known as the Lake Bodom murders which took place at Lake Bodom, a lake in northern Espoo in 1960. The bands Norther and Kiuas also come from Espoo.
The educational department takes part in Lifelong Learning Programme 2007–2013 in Finland.
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Famous quotes containing the word culture:
“No race has the last word on culture and on civilization. You do not know what the black man is capable of; you do not know what he is thinking and therefore you do not know what the oppressed and suppressed Negro, by virtue of his condition and circumstance, may give to the world as a surprise.”
—Marcus Garvey (1887–1940)
“We do not need to minimize the poverty of the ghetto or the suffering inflicted by whites on blacks in order to see that the increasingly dangerous and unpredictable conditions of middle- class life have given rise to similar strategies for survival. Indeed the attraction of black culture for disaffected whites suggests that black culture now speaks to a general condition.”
—Christopher Lasch (b. 1932)