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.
Dobra
Legenda
