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Wesele – którędy do domu?

100%
Majkowska-Szajer D.
Rocznik Antropologii Historii
|
2016
|
issue 9, Dziedzictwo kulturowe
63–85
XX
This text has been based on materials collected in the course of ethnographic research on contemporary weddings entitled “Weddings 21” conducted by the Ethnographic Museum in Krakow between 2009-2015. The author (one of the researchers involved in the study) is suggesting that we take a new look at the wedding as an “experience laboratory” connected with a personal approach to cultural heritage. It is becoming an area of practices devoid of institutional context and verified by individual choices and motivations. This is shown by the words of the research participants themselves but also by field observations, ceremony scripts, menus or elements of wedding scenography. Tradition has frequently been an important reference for the young couples and it is now tested to see how useful and up-to-date it is. It appears that the unique moment of taking the vows (in Poland the wedding is a ritual which is celebrated in a most spectacular manner) is accompanied by the feeling of nostalgia – the desire to return to one’s own childhood home, to the home of the ancestors. This is to be ensured by taking part in a ritual which makes the participants feel grounded, connects them with the past and provides them a sense of loyalty. Its image combines such opposing factors as familiarity and shame, indigenousness and backwardness, experiencing closeness and embarrassment. So what is it that we really miss?
2

OPUSZCZONE.COM

100%
Majkowska-Szajer D.
Konteksty - Polska Sztuka Ludowa
|
2010
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vol. 64
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issue 2-3(289-290)
353-359
EN
An anthropological account of a journey to sites abandoned by God and people, a world of objects straight out of Kantor's 'lowest-rank reality'. A contribution to this expedition is a gallery of photographs available on www. opuszczone. com, set up by a group of persons declaring their manic attachment to dilapidated buildings, abandoned by owners and former residents. The outcome of this predilection is a collection of photographs shown on the Internet and registering homes, housing estates and even whole towns depopulated and left to their own fate. The essay urges not only to take a closer look at the photographs, but also to focus on the ways of seeing that we apply within the range of the depicted degraded spaces. This is an attempt at testing what is the object of a fascination with views of abandoned homes, and what is decisive for their aesthetic attractiveness and force of expression. We explore ruins by applying four consecutive perspectives and pose questions concerning the way in which the perception of the plight of a ruined house is tantamount to our view of the world, life, death and art.
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