International Festival of Highland Folklore in Zakopane

We invite you for International Festival of Highland Folklore in Zakopane. Its origins go back to the times of Second Polish Republic and the idea of "Land Union" grown on the soil of polish regionalism, specified by Władysław Orkan in 1920s. His concept basicaly assumed unification of every native group of polish Carpathians, from Hutsulshchyna up to Silesian Beskids, and creation of common development strategy for them.

Similarly, creators of "Mountain's Festival" which was supposed to take place in 1934 Zakopane, were guided by the same ideas. Unfortunately, the enormous flood obstructed those plans. However, a year later in 1935, people of Podlhale hosted musicians, dancers, singers, craftsmen and folk artists that came from polish Carpathians, from Cheremosh to Olza River. For whole week, highlanders from Żywiec, Beskid Sądecki, Huculs, Lemkos and Boykos showed artistic goods of their lands. Already then the festival was a contest, and the main prize went to Huculs. Two years later, with its name changed to "Mountain Week", the event took place in Wisła.

After the World War II, the idea of highlander festival was resurrected and proposed in refreshed formula under the name of "Tatra Autumn", which was supposed to extend the tourist season under Giewont. Band performances were only one of many attractions at first. In september 1965, four local troupes performed on "Giewont" cinema stage. They impressed the audience so much that the organizers realized that folk spectacles can be the main event of the festival. So it happened. Besides polish groups, the foreing were also invited in 1968, when the first international festival took place. There was only one competition category at first; the main prize of "Golden Ciupaga". Still, only after the first edition, the jury saw vast differences between performing groups and articulated the need of reforming the rules. New regulations were compiled under the leadership of famous ethnographer, Roman Reinfuss who distinguished three categories of folk performance groups: cathegory I - authenticity; cathegory II – artistic value; cathegory III – style. In 1975 the fourth cathegory of reconstructed folk was introduced, meaning recreation based on literature and archives. According to Danuta Rejdych, festival director for many years, these modifications, considering many different forms of folk display, supported village groups and promoted "folklor in authentic form, mixed with ritual and habit, not artificial and staged dance-musical medleys". Those words reflected the nature of folklore seen and examined by Cracow's folk culture researchers, who were in festival jury for nearly 30 years. For these juries the village groups were particulary valuabe, because they presented their traditional, unmanufactured folklore, which was supposed not only to be protected, but also reactivated. The festival was an important asset in doing so. Did it succeed? Despite different worldviews, many discussions and verdict controversies, its hard not to admitt that the festival positively influenced highlander art development, and mobilised reconstructions of forgotten rituals with adding them to artistic programs.

Today the Zakopane contest is very prestigious and gratified folk event, not only national, but also abroad. In past 50 years there were nearly 600 participating, foreign groups from several dozen nations and nearly 200 polish ones.

Contest formula, often criticised and controversial, survived the time trial and currently attracts groups from many countries and continents to compete for the "Golden Ciupaga" trophy. Furthermore, the festival is also one of the most important elements of Zakopane cultural life and its unforgettable atmosphere. Tourists from all around the world come under the Giewont to experience a true folklore, highlander adventure.

This is not everything, though. Apart from cognitive, promotional and mercantile goals, the festival is also important for podhalan highlanders themselves, since they can consolidate their communal bond, regional identity, summon and point out the most valuable elements of their culture. Podhale inhabitants, detaching from everyday duties, can meet eachother in festival camp to talk, drink tea and sing by the fireplace, hearing highlander music tunes coming from the tent. This less official and exposed aspect of festival life, which takes place on the side of the contest, is as equally interesting.

Many accompanying events enrich this grand event, proposing many attractions for handicraft enthusiasts during Folk Art Fair and for music lovers with highlander inspired concerts.