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Etnograficzne źródła turystyki kulturowej. Pejzaż symboliczny Wołynia w XIX w. na przykładzie monografii Oskara Kolberga pt. Wołyń. Obrzędy, melodye, pieśni

100%
Libura K.
Turystyka Kulturowa
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2016
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issue 4
99-115
PL
W artykule podjęto próbę wywiedzenia źródeł turystyki kulturowej z dziewiętnastowiecznych praktyk etnograficznych, wskazując na wspólne obu dziedzinom zainteresowanie kulturą i tradycją, przejawiające się w eksploracji przestrzenno-kulturowej. Potwierdzając stanowisko A. Stasiaka o niemożności rozdziału turystyki od kultury ze względu na ich dialogiczny charakter, opisano pogranicze polsko-ukraińskie na podstawie zbioru etnograficznego Oskara Kolberga pt. Wołyń. Obrzędy, melodye, pieśni. W odniesieniu do badań prowadzonych przez zbieracza pamiątek ludu zaproponowano zastosowanie pojęcia wiejskiej turystyki kulturowej w definicji T. Jędrysiaka. W toku przeprowadzonej argumentacji wskazano na znaczenie praktyki etnograficznej Kolberga dla współtworzenia kultury narodowej oraz zainicjowania badań antropologicznych, co stanowi istotny przyczynek dla badaczy, a współcześnie także turystów zwiedzających Wołyń. Na zakończenie wysunięto wnioski dotyczące przemian społecznych, politycznych, gospodarczych i świadomościowych na wsi w XIX w. oraz polityki ZSRR w XX w., które wskazują, iż związek etnografii z turystyką kulturową ma dziś szczególne znaczenie w procesie odzyskiwania pamięci dla przestrzeni dotychczas marginalizowanych w polu turystycznym.
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The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

100%
Nowak T.
Musicology Today
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2014
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vol. 11
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issue 1
EN
The mainstream fields of Polish dance research were defined in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, krakowiak and kozak). Oskar Kolberg knew very well the works of all these authors and referred to them many times. However, he was unique in his extensive documentation of dance melodies, information about their geographic origin, and local terminology. He also characterized the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. Oskar Kolberg’s documentation for quite a long time remained outside the scope of mainstream research and publications about dance in Poland. In the 1930s Polish representatives of the newly defined field of ethnochoreology were the first to include examples from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works increased in popularity after the World War II. Today the materials left by Oskar Kolberg allow us to establish to a large extent the geographic range and perspective on the changes of dance repertoire, both with regard to choreographic technique and dance types, or a more detailed and critical perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective or comparative studies – which may not be very fashionable today, but which have never been adequately conducted in Poland.
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Oskar Kolberg (1814–1890) the Founder of Musical Ethnography in Poland

100%
Dahlig P.
Musicology Today
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2014
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vol. 11
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issue 1
EN
The article presents the greatest Polish ethnographer, who was also a professionally educated musician. He concentrated his activities on the oral musical culture, still vital in the 19th century but liable to changes. Culture studies by Kolberg concerned mainly rural communities, statistically dominating in those times. He planned to edit 60 volumes geographically covering the first Polish State from before 1772; he managed to print 33 of them in his lifetime and prepare many further anthologies for editing. Up till now, the editorial work is still in progress. The already edited 80 volumes show us an old social culture, folk ceremonies, musical repertoire including ritual singing, songs and instrumental pieces. Kolberg’s printed monument is a source of reflection on the past and can inspire social studies, ethnomusicological research as well as musical ensembles performing traditional ethnic music of peasant origin. The size of Kolberg’s documentation means that a special Institute of Oskar Kolberg had to be established to continue editorial and research work. In spite of his positivistic and empirical attitude, Kolberg still kept a romantic faith in the significance of folk songs and singing for the preservation of national components in cultural consciousness. Simultaneously, he developed a model for structural analysis of popular/folk culture and intended to build a cultural atlas of the country, building on the work of his father, professor of the University of Warsaw, an outstanding cartographer. But the core of Kolberg’s programme, its “planetary centre”, was always music. It was music that gave him the stimulus to interpret the culture of Central-Eastern Europe. To preserve regional diversity, he wrote down more than 20 thousand vocal melodies, song texts and instrumental pieces, paying special attention to variants and ornamentation. For the contemporary composer, Kolberg’s volumes are a useful musical reader. These huge anthologies of elementary but highly integrated musical concepts demonstrate the collective creativity and a fascinating prefiguration of mass culture, still open to symbols and to poetry. Kolberg’s music transcriptions, catching music in the process of performance, should not be treated as unchangeable patterns for copying, but rather as a source that helps understand creativity in traditional oral culture.
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Oskar Kolberg’s Study of the Musical Culture of the Hutsuls

100%
Smoluch Ł.
Musicology Today
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2014
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vol. 11
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issue 1
EN
Henryk Oskar Kolberg (1814–1890), a musician, composer, the greatest Polish ethnographer and one of the fathers of European ethnomusicology, collected over 20,000 folk songs, dances, and instrumental melodies from the territory of today’s Poland, Belarus, Ukraine and other Slavic countries. The musical culture of the Hutsuls was an object of Oskar Kolberg’s interest in the late 1870s and early 1880s. The research material related to this region was collected by Kolberg, similarly as in other regions, from two different types of sources. The core of his work consisted of field notes written down during his few trips to that region. Another way of collecting information for Kolberg’s publication included an extensive study of already published resources – historical and ethnographical works, collections of songs, short articles, etc. Kolberg’s study of the musical culture of the Hutsuls is a very valuable source for the history of the culture of this part of Europe.
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Tańce i melodie flisackie w zbiorach Oskara Kolberga

89%
Miśta R.
Zeszyty Wiejskie
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2021
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vol. 27
231-253
EN
In the article, I studied the notations from Oskar Kolberg’s collection of folk tunes (their names, locations, and rhythmical features). The observations were confronted with various theses (coming from ethnographical literature) about conditions of 19th century raftsmen cultural transmission and differentiation.
PL
W artykule przeanalizowano zapisy melodii flisackich ze zbiorów Oskara Kolberga: ich opisy, noty lokalizacyjne i własności rytmiczne. Obserwacje skonfrontowano z opisywanymi w literaturze etnograficznej potencjalnymi uwarunkowaniami obiegu i różnicowania się folkloru muzycznego flisaków w XIX w.
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Morfologia „rytmów polskich” w „Mazowszu Polnym” Oskara Kolberga w świetle badań z zastosowaniem Music Information Retrieval

89%
Dahlig-Turek E.
Muzyka
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2021
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vol. 66
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issue 4
37-59
EN
The aim of this paper is to present the results of research into ‘Polish rhythms’, that is, triple-time ‘descending’ rhythms, in traditional music from volumes 24 and 25 (Mazowsze Polne [‘Field’ Mazovia]) of Oskar Kolberg’s Dzieła Wszystkie (Complete works). Research into part of that material, confined to mazurka rhythms, with up to four or five syllables per measure, was carried out in 1959–60 by Jan Stęszewski (cf. ‘Morfologia rytmów mazurkowych na Mazowszu Polnym. Studium analityczne’ [The morphology of mazurka rhythms in ‘field’ Mazovia: an analytic study], part I Muzyka 4/4 (1959), pp. 147–159; part II Muzyka 5/2 (1960), pp. 29–53). That excellent study, based on analysis of song material, presents a comprehensive overview of mazurka rhythms in relation to the texts’ metrical structure. However, the limitations of manual data processing meant that the research was only applicable to that particular set of data; a different subject would require preparing the material from scratch. Modern methods of analysing and processing collections using digital technology (Music Information Retrieval) open up broad perspectives for working on large repositories of material. Hence the second aim of this paper is to give representative examples of the use of the WebEsAC application, designed for working with the EsAC (Essener Assoziativ Code) in which all the works contained in Kolberg’s regional monographs have been transcribed (a project financed by the grant ‘Preparing music records from Oskar Kolberg’s Collected Works in Music Information Retrieval mode and making them available for scientific research’, no. 0238/NPRH4/H1a/83/2015). WebEsAC-based statistics of ‘Polish rhythms’ in Kolberg’s Mazowsze Polne complement the picture of triple-time rhythms in that region presented by Jan Stęszewski, and at the same time foreshadow future research, which, if applied to Kolberg’s entire collection, will make it possible to map the rhythmic properties of Polish musical folklore. Thanks to the possibility of filtering and searching through the musical material, the WebEsAC app may prove to be a valuable tool not only for ethnomusicologists, but also for music historians studying references to traditional music in the output of selected composers.
PL
Celem opracowania jest przedstawienie wyników badań nad „rytmami polskimi, tj. trójmiarowymi rytmami descendentalnymi w zapisach muzycznych z tomów Mazowsze Polne Oskara Kolberga (Dzieła Wszystkie 24 i 25). Badania nad tym materiałem, ograniczone do rytmów mazurkowych, tj. o zagęszczeniu rytmu do 4 (maksymalnie 5) sylab w takcie, przeprowadził w latach 1959–1960 Jan Stęszewski („Morfologia rytmów mazurkowych na Mazowszu Polnym. Studium analityczne”, cz. I Muzyka 4 (1959) nr 4, s. 147–159; cz. II Muzyka 5 (1960) nr 2, s. 29–53). To znakomite studium, oparte na analizie materiału pieśniowego, wszechstronnie ukazuje rytmikę mazurkową w powiązaniu ze strukturą wersyfikacyjną tekstu. Z uwagi na ograniczone możliwości ręcznego przetwarzania danych, badanie miało charakter jednostkowy: podjęcie innego zagadnienia wymagałoby ponownego przygotowania materiału. Dostępne współcześnie metody opracowywania i przetwarzania zbiorów z zastosowaniem technologii informatycznych (Music Information Retrieval) otwierają szerokie perspektywy pracy na wielkich repozytoriach. Dlatego też drugim celem artykułu jest ukazanie przykładowych zastosowań aplikacji WebEsAC, przeznaczonej do pracy z kodem EsAC (Essener Assoziativ Code), w którym zapisane zostały wszystkie utwory zawarte w monografiach regionalnych Kolberga (grant ,,Opracowanie zapisów muzycznych z Dzieł Wszystkich Oskara Kolberga w trybie Music Information Retrieval i ich udostępnienie do badań naukowych” nr 0238/NPRH4/H1a/83/2015). Przeprowadzone z wykorzystaniem tej aplikacji obliczenia statystyczne morfologii „rytmów polskich” w tomach Mazowsze Polne Kolberga dopełniają obraz rytmiki trójmiarowej w tym regionie przedstawiony przez Jana Stęszewskiego, a zarazem są zapowiedzią dalszych badań, które - jeśli zrealizować je na całym zbiorze Kolberga – umożliwią „mapowanie” właściwości rytmicznych polskiego folkloru muzycznego. Dzięki możliwościom filtrowania i przeszukiwania materiału muzycznego, aplikacja WebEsAC może stać się wartościowym narzędziem nie tylko dla etnomuzykologów, ale także dla historyków muzyki badających nawiązania do muzyki tradycyjnej w twórczości wybranych kompozytorów.
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Belarusian Traditional Culture in the Legacy of Oskar Kolberg

88%
Niakrasava A.
Musicology Today
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2014
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vol. 11
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issue 1
EN
The article examines the subject of Belarusian musical and ethnographic materials collected by Oskar Kolberg. The materials on Belarusian folk culture, which were collected by the researcher throughout his whole life, were published almost 80 years after his death in Volume 52 Belarus–Polesie, while some of them are also to be found in Volume 53 Lithuania. Thus, the geography of these materials extends far beyond the borders of contemporary Belarus. However, individual regions of the country are not equally represented. Using the works of his predecessors, Kolberg compiled information about the culture and ethnography of Belarus and supplemented it with his own research. The author of this article divides the materials used to compile Volume 52 into two unequal groups: publications of other authors and the personal field notes of Kolberg (together with the materials sent to him by correspondents). The latter group, which constitutes more than a quarter of all the materials and is essential for assessing the Belarusian achievements of the Polish ethnographer, has been analysed in the article. The abundance of Kolberg’s own transcriptions of music in the volume makes his work into one of the key sources in 19th-century Belarusian musical historiography The author also puts forward a hypothesis concerning the Belarusian beginnings of Kolberg’s entire collecting activity.
8

Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

88%
Przerembski Z. J.
Musicology Today
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2014
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vol. 11
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issue 1
EN
In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.
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Opowiadanie zwizualizować pismem. O pracy Oskara Kolberga nad tekstami ludowymi

88%
Kotlarska I.
Pamiętnik Literacki
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2018
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vol. 109
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issue 1
185-198
PL
Przedmiotem artykułu są bajki ludowe Oskara Kolberga, przedstawiane tu jako złożony, wielowarstwowy palimpsest kulturowy, który łączy w sobie oralność i piśmienność, twórczość ludową oraz konwencje kultury wysokiej uwidaczniające się w pracy folklorysty –zbieracza i edytora. Podjęta tu zostaje problematyka różnego rozumienia zagadnienia wierności rejestracji tekstów folkloru w XIX wieku – na podstawie analiz w zapisów terenowych rekonstruowane są efekty transkrypcji słowa mówionego. Uwzględnione zostają przy tym różne aspekty performatywne (m.in. charakter sytuacji, ton głosu czy gestykulacja), następnie zaś prezentowana jest specyfika pracy folklorysty-edytora, który chciał jak najpełniej przekazać czytelnikowi to, co widział i słyszał. Cel artykułu stanowi odszukanie kontekstu powstania Kolbergowskich utworów bajkowych – czyli tego wszystkiego, co towarzyszy opowiadaniu bajek, ale znajduje się poza słowem.
EN
The subject of the paper are folk tales presented here as a complex and multilayer cultural palimpsest which combines orality and textuality, folk creation, and high culture conventions demonstrated in a work of a folklorist – collector and editor. The issue of diverse understanding of fidelity of recording the folklore texts in the 19th c. is discussed here – as based on the analyses of field records the effects of spoken words transcriptions are reconstructed. The paper also accounts for many various performative aspects (e.g. the character of situation, tone of voice and gestures), then it the specificity of the work of folklorist-editor who wanted to most generously offer the reader what he saw and heard. The article’s goal is finding the context of Kolberg’s fables creation, namely all that accompanies telling the stories but lies outside the word.
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Myśli i dzieło Oskara Kolberga jako inspiracja dla współczesnego etnomuzykologa

75%
Grozdew-Kołacińska W.
Lud
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2014
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vol. 98
63-80
EN
The paper is a concise synthesis of deliberations based on the ideas of Kolberg (extracts) subjectively selected by the author. The main problems analyzed in the paper are: music as the subject of high priority in documentation and research, as well as the idea of methodical holistic documentation. The paper presents two weaknesses of modern ethnomusical gathering and archiving methods which are of utmost importance. Firstly, research centers and researches themselves are dispersed, and so is the object of the studies, musical material, which has recently been gathered intensively both by scientists and amateurs. Secondly, resources are not worked on with due consideration to their merits, especially if the work is undertaken by an individual hobbyist. Subsequently, the paper focuses on the idea of popularization of traditional music and its practical and theoretical aspects, which have been presented in the context of Oskar Kolberg’s comprehensive musical education, his music-making, and the meaning of these for his academic thought and the attitude towards his own interest in the research and documentation of music. The aforementioned practical aspect also concerns his exquisite organizational skills during his fieldwork. The theoretical aspect is the praise of erudition and versatility of his interests which were reflected in his academic thought, his journalistic work, and deep concern for the top quality of his editorial work.
11
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Materiały Kolbergowskie a metodologia badań folklorystycznych

75%
Grochowski P., Wróblewska V.
Lud
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2014
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vol. 98
41-62
EN
This article is an attempt to take a critical look on Oskar Kolberg’s works in the context of modern methodological standards, which are accepted in the folklore research. The analysis of specific qualities of Kolberg’s material, (e.g. the way of obtaining ethnographical data, organizing them and preparing for print) leads to a few conclusions. An ambitious and innovating project (an attempt to show the connections between folk texts and folk culture in general) was partly realized, because in Kolberg’s works there is a characteristic dissonance. Some texts are placed in the group with descriptions of habits, beliefs and rituals, some in the separate sections associated with literature (e.g. “Folk novels”, “Songs”, “Proverbs”). And the third group consists of dances. The entire material is divided in two basic sections. The first one includes texts, which are recognized as closely connected with cultural context and this connection is emphasized. The second section includes texts, which are treated as autonomous and their links with other elements of folk culture are omitted and marginalized. It appears that Kolberg, despite his very modern, holistic approach to culture research, stayed in the strong influence of philological and musicological paradigms. They were not harmoniously combined, but competed which each other and gained “local victories” in particular areas of research.
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Metody pracy, zasady i praktyka podziału regionalnego w monografi ach Oskara Kolberga

75%
Waszczyńska K.
Lud
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2014
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vol. 98
17-40
EN
The article, comprising four sections, presents Oskar Kolberg, a Polish ethnographer and folklorist, and his work. The first section is devoted to the ethnographer’s early work and to the results of his lifelong research, namely a twenty-three-volume monograph entitled Lud, jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni muzyka i tańce (Folk: Their Customs, Way of Life, Language, Legends, Proverbs, Rituals, Spells, Games, Songs, Music and Dances) and a nine-volume series entitled Obrazy etnograficzne (Ethnographic Pictures). The second section presents the methodology that Kolberg used to collect his data, including his own research, materials received from other researchers and data gathered as the result of contests organised by various scientific societies around the country. The third section describes the methods used by Kolberg to organise the materials. Kolberg aimed to create an overall ethnographic description of Poland with a division into the so-called provinces. Additionally, Kolberg differentiated and described ethnographic groups, including their ethnonyms, which are still recognised and used today. The fourth section presents the scope of his monographs, which have become the standard for this type of ethnographic work. The article also reflects upon the challenges that Kolberg’s work presents for the contemporary reader.
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Oskar Kolberg’s Volume on “Łużyce” [Lusatia]

75%
Nowak T.
Musicology Today
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2014
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vol. 11
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issue 1
EN
Oskar Kolberg never visited Lusatia, and did not come in direct contact with the Sorbs. Still, hoping to carry out his original project of a collection of melodies from all Slavic nations, Kolberg could not ignore Lusatian songs and dances. The volume Materiały do etnografii Słowian Zachodnich i Południowych, Part 1: Łużyce is made up of three sections. The first one contains Kolberg’s translations to the Polish language and excerpts from Jan Arnošt Smoler’s monumental work Volkslieder der Sorben in der Ober- und Niederlausitz / Pěsnički hornich a delnich Łužiskich Serbow. The second part includes Sorbian materials from the collection of Andrzej Kucharski, who in the years 1826–1827 studied the history, literature and language of Lusatians. The third part contains Kolberg’s own rather scarce lexical and bibliographical notes. The aim of this article is to take note of a not-sowell- known volume of Kolberg’s folk-musical collection and to discuss the meaning of this publication nowadays.
14
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Oskar Kolberg i etnomuzykologia wobec ludowej pieśni religijnej

71%
Dahlig P., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
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2014
|
vol. 12
EN
The text presents a history of research on the Catholic folk singing in Poland with a special regard to works of the greatest Polish ethnographer, Oskar Kolberg (1814–1890). Karol Kurpiński, a composer and the director of the National Theatre, who was the first to debate on folk music in 1820, had promoted a functional definition of a folk song embracing also religious singing in national language. Anthologies of the texts of folk song edited in 1830s and 1840s put stress, however, on possibly original repertoire of peasants transmitted orally and by memory. Religious songs as being learned basically from prints were usually not included into folklore studies. But culture changes in the course of the 19th century have induced explorers to document also older religious songs in folk use, such as carrols (Michał Marcin Mioduszewski 1843). Oskar Kolberg was concentrated mainly on regional specificity of each part of the country. That is why the standardized repertoire of religious songs performed in churches did not attract much of his attraction. In spite of his preferences, he had written down about 800 religious songs in the whole collection of 20.000 vocal and instrumental pieces. These 800 songs refer to local repertories accompanying the Lenten, Easter, Christmas, the cult of saint patrons and connected with other contexts such as funeral ceremonies. The reason for respecting also religious singing in Kolbergs works was a significance of the oral way of performing resulting in huge amount of variants which were determined also by strictly regional features of traditional singing. Performance practice became a common interest for both ethnomusicology and hymnology since the 1970s, so the more that elements of Gregorian chant have survived in living tradition up till now.
PL
Niniejszy artykuł przedstawia historię badań nad katolickim śpiewem ludowym w Polsce, ze szczególnym uwzględnieniem pracy największego polskiego etnografa, Oskara Kolberga (1814–90). Karol Kurpiński, kompozytor i dyrektor Teatru Narodowego, inicjator pierwszej debaty na temat muzyki ludowej w 1820 roku, zaproponował funkcjonalne ujęcie pieśni ludowej, której definicja obejmowała także pieśni religijne śpiewane w języku narodowym. Antologie tekstów pieśni ludowych wydawane w latach 30. i 40. XIX wieku zawierały możliwie najbardziej oryginalny repertuar pieśni chłopskich przekazywanych ustnie i pamięciowo. Pieśni religijne, jak wynika z druków, nie były zwykle włączane do badań folklorystycznych, jednak zmiany kulturowe, jakie zachodziły na przestrzeni XIX wieku, skłoniły badaczy do dokumentowania również starszych pieśni religijnych wykorzystanych w tradycji ludowej, takich jak kolędy (Michał Marcin Mioduszewski 1843). W swoich badaniach Oskar Kolberg był skoncentrowany głównie na specyfice regionalnej poszczególnych części kraju, dlatego też znormalizowany repertuar pieśni religijnych wykonywanych w kościołach w zasadzie go nie interesował. Jednak mimo swoich preferencji badawczych Kolberg spisał około 800 pieśni religijnych z bogatej kolekcji 20 tysięcy utworów wokalnych i instrumentalnych. Te 800 utworów wchodzi w skład lokalnych repertuarów towarzyszących obrzędom wielkopostnym, wielkanocnym, bożonarodzeniowym, a także związanym z kultem świętych patronów oraz innym, takim jak np. ceremonie pogrzebowe. Powodem uwzględnienia śpiewów religijnych w pracach Kolberga był również fakt ich ustnego przekazywania, który skutkował ogromną wariantywnością pieśni. Niektóre z wariantów nabierały specyficznych cech określanych przez lokalną tradycję śpiewaczą. Praktyka wykonawcza zyskała od 1970 roku zainteresowanie badawcze zarówno etnomuzykologów, jak i hymnologów, tym bardziej że zawarte w pieśniach elementy chorału gregoriańskiego przetrwały w żywej tradycji aż do naszych czasów.
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Pieśń i gra obrzędowa „Zelman” u Oskara Kolberga i innych. Materiały i interpretacje

63%
Jasiewicz Z.
Lud
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2017
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vol. 101
EN
The folk song and ritual play known under the name of Zelman was recorded and documented in the Ukraine in more than ten varieties by Oskar Kolberg in the 19th century. It may be interpreted from two perspectives: historical and mythological. In the former, its context is the practice of Orthodox churches being leased out to Jews. In the latter, it is related to the gods of ancient mythology. Scholars, like M. Hruszewski, have long dismissed any link between the ritual “Zelman” with Zelman Wolfowicz, who lived in the 18th Century in the town of Drohobych. They believed the practice of Jews taking churches in lease to be no more than a legend. The author presents the social, religious and political background of this legend and examines its parallels both with ‘haijwka’, an Easter ritual, and the forms of the legend which exist to this day. He considers this tradition part of enduring legacy in the relations between Ukrainians, Poles and Jews, which even today is not without significance
PL
W XIX wieku Oskar Kolberg zapisał i udokumentował na Rusi ponad dziesięć wersji pieśni ludowej i gry obrzędowej znanej pod nazwą „Zelman”. Można je interpretować z dwóch perspektyw: historycznej i mitologicznej. W pierwszym przypadku ich kontekstem jestlegenda odzierżawieniucerkwi prawosławnych przez Żydów, natomiast w drugim ujęciu Zelman wiązany jest z bóstwami starożytnej mitologii. Badacze, jak M. Hruszewski, od dawnaodrzucali wszelkie powiązania między pieśnią i obrzędem „Zelman” a Zelmanem Wolfowiczem, który żył w XVIII wieku w Drohobyczu. Ich zdaniem, opowieść o przejmowaniuświątyń przez Żydów jest jedynie legendą.Autor artykułu przedstawia społeczne, religijne i polityczne tło tej legendy i analizuje jej związek z„haijówką”, obrzędem wielkanocnym, oraz omawia wersje legendy, pieśni i zabawy, które istnieją do dnia dzisiejszego.Tradycję tęuznał za część trwałej spuścizny ukraińsko-polsko-żydowskiej, którado dziś zachowała swoje znaczenie
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LUDOWE TRADYCJE W ŻYCIU MIESZKAŃCÓW POZNANIA

51%
Brencz A.
Ochrona Zabytków
|
2004
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issue 3-4
141-153
EN
The article is an attempt at demonstrating certain aspects of non-material cultural heritage in the contemporary urban landscape. From the ethnological point of view many non-material elements consist of activity and behaviour, at times of a symbolic nature, which comprise an important component of the cultural heritage. Such elements play an essential part in shaping the landscape by endowing it with a unique atmosphere, characteristic for each town. The author of the presented article used the example of Poznań to seek an answer to questions about the role of traditional folk culture and its particular constituents in the creation of a contemporary urban landscape. In the case of Poznań this function proved to be truly significant. The incoming population from the villages of Greater Poland made its own “invisible” cultural contribution. Some of the elements were rejected in the new environment, while others were preserved owing to their special value. All generated a specific conglomerate of Poznaƒ tradition discernible, i. a. in the evaluation of city space or the features of the local dialect. This impact is particularly visible in the culinary tradition, where one may easily discover echoes of an obligatory and rigorously observed model of “consumer minimalism”. The preserved traditions include those of baking ritual bread (the famous St. Martin crescents). Many cultural phenomena continue to appear in family and annual rites, such as the custom of presenting children with gifts on St. Nicholas day, the figure of the Star Man (Gwiazdor), who brings presents to children on Christmas Eve, or podkoziołek, a name given to the entertainment enjoyed on the last day before Ash Wednesday. The intention of the presented study was to draw attention to the role performed by folk tradition, and to indicate the possibilities of using it in multiple pragmatic undertakings pursued for moulding the cultural landscape of the contemporary town.
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