3079 results in Jagiellonian University Press
Unobvious Heritage: Issues of the Conservation of Dąbrowa Tarnowska’s Urban Layout
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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Introduction
The titular “unobvious obvious” is a type of metaphor that describes urban planning heritage assets, many of which are currently endangered due to insufficient heritage conservation and them being unrecognised and underappreciated as cultural assets by local communities.
The need to strengthen the conservation of historical urban layouts in Lesser Poland is currently a major problem in the ongoing process of protecting the Voivodeship's monuments. Until recently, it was medieval structures [Kuśnierz-Krupa, 2019] that crystallised over 500 years ago that attracted the most attention, and which were often without any form of statutory conservation, which resulted in their gradual decay [Kuśnierz, Kuśnierz-Krupa, 2019, pp. 37–44].
It is therefore time to discuss the equally crucial issue that is the conservation of early-modern-period urban layouts. Such layouts have likewise survived in the territory of the Lesser Poland Voivodeship and remain valuable showcases of the development of urban planning thought, especially thought from the Renaissance period. One such case is the town of Dąbrowa Tarnowska, whose urban layout has thus far not been placed under statutory conservation (the layout is not included in the immovable monuments register and the area does not have a local spatial development plan in place).
Dąbrowa Tarnowska is located in the north-eastern part of the Lesser Poland Voivodeship. It is the seat of the Dąbrowski powiat and of the municipality of Dąbrowa Tarnowska. The town is located on the river Breń, around 15 km to the north of Tarnow.
Renaissance-period Urban Planning in Poland – General Remarks
The development of Renaissance urban planning in Poland, and especially in historical Lesser Poland, coincided with the period between the sixteenth and the middle of the seventeenth century. This was tied with a crisis of medieval cities that were cramped, overcrowded and had obsolete and primarily wooden buildings and relatively small marketplaces that were no longer sufficient in the face of the economic liveliness of the fifteenth and sixteenth centuries [Książek, 1988; Kuśnierz, 1989].
Humanistic currents and urban planning theory from Italy, brought to Poland mostly by Italian artists and architects, as well as Poles themselves, largely magnates who educated themselves abroad, had a profound impact on the development of Renaissance urban planning in Poland.
The Role of Tax Exemption with the Tax on the Means of Transport in the Context of Cultural Heritage Protection as an Example
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- 21 April 2023, pp 99-116
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Introduction
The functioning of a society would not be possible without proper management. The socio-economic sphere must beregulated in a certain rule-bound manner. In this context, it is particularly important on the part of national authorities to introduce appropriate tax planning and management of public finances. The principles on the basis of which tax regulations are constructed should be optimal enough to take into account not only fiscal needs, but also a number of other objectives [Sosnowski, 2012]. “The imposition of taxes by the state is to guarantee the implementation of certain functions that the tax fulfills” [Szlęzak-Matusewicz, 2008, p. 17, own translation]; this is primarily the fiscal function (providing funds to the state budget), although also other functions of tax must be borne in mindsuch as the regulatory function (redistribution of funds) or the stimulation function (influencing the decisions of taxpayers through tax structures) [ Jaszczyński, 2017]. Moreover, taxes should be shaped in such a way that they do not constitute an excessive fiscal burden that could lead to tax evasion.
The basis of financial management, as well as the duty of public authorities is to collect revenue [Chojna-Duch, Litwinczuk, 2009]. Taxes make up the fiscal system, which should be managed in a specific way, because tax collection is associated with interference in the material sphere of taxpayers, and thus cannot be based on discretionary regulations. The Act of 27 August 2009 – Public Finance, [ Journal of Laws – Dz.U. 2021, item 305, hereinafter: the Public Finance Act] contains basic principles to be followed by public authorities in collecting public revenue. It should also be noted that public revenue consists, among others, of public levies, among which taxes are ranked first. It is not a coincidence that taxes were indicated in the first place, since, for example, in 2020, they accounted for about 88% of state revenues [Sprawozdanie z wykonania budżetu państwa za okres od 1 stycznia do 31 grudnia 2020]. Therefore, taxes that play a special role and dominate the structure of the state revenues, and thus have a significant impact on the socio-economic sphere, should be shapedon the basis of certain legal principles.
Preservation of Digital Cultural Heritage as a Legal Challenge
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- 21 April 2023, pp 139-156
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Introduction
It cannot be denied that the development of the Internet has radically changed the way we live. Interpersonal relations, shopping, books, and recently, as a result of the COVID-19 pandemic, also offices, university classes and cultural institutions (e.g. museums, art galleries) have been transported to the virtual level. Moreover, a large part of the information produced in the world is born digital and comes in a wide variety of formats: text, database, audio, film, image.
Currently, we are dealing with a situation where intensive technological development not only creates the possibility of protecting and preserving cultural heritage for the future, using a process of digitization of its objects, but also creates such heritage itself (digital heritage). The Internet has become a place of creation of content in a dematerialized form, such as photography, computer games, net art and various forms of expression, e.g. blogs and vlogs. These works undoubtedly belong to the contemporary cultural heritage. Nevertheless, they do not always enjoy the legal protection, which is provided for that cultural heritage, due to the wording of legal provisions. Often even digital heritage is a kind of novelty for a given country and thus a challenge to its legal system of cultural heritage protection. The most recent legacy, paradoxically to its young age, is therefore the most troublesome.
In the case of digital heritage, one should think outside the box, because newly emerging technical solutions require modern legal solutions aimed at the protection of abstract matter, without a material carrier. The aim of this article is to present the concept of digital heritage and it is still widening scope, as a legal challenge, by analyzing the currently existing legal forms of its protection.
Digital Cultural Heritage
In its broadest sense, heritage is our legacy, containing everything that is inherited from the past, created in the present and passed for future generations. Individual UNESCO conventions adequately restrict this concept and divide it into, i.a., “cultural heritage, natural heritage, underwater cultural and natural heritage or intangible cultural heritage.”
The Crystallization of the Derivation of Subjective Rights in Environmental Protection in Culturally Important Areas: On the Example of a Commentary to the Judgment of the Supreme Administrative Court of March 15, 2018, II FSK 3579/17
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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Today, the analysis of the concept of subjective rights significantly goes beyond its dogmatic understanding characteristic of civil law. The development of science and objective observation of the surrounding world set the directions for the occurrence and application of the subjective law in administrative law and environmental law, nature protection law and monument protection law [Banaszak, 2010].
Therefore, where we are talking about constitutional values or those reasonably derived from the Constitution, for their comprehensive protection it is necessary to try to define subjective rights in individual problematic cases. The correlation between the subjective right, public interest, private interest and the trial card creates a network of connections, especially visible in the confluence of values protected in areas such as historic health resorts. Environmental protection in historic or culturally major areas plays an important role, if only because of its auxiliary function in the protection of historic tissue. It is obvious that the mild climate changes as well as the analysis and predictability of the biochemical aspects of the environment affect the physical protection of the monument's structure [Łebkowska, 2001, pp. 335–343; Murzyn-Kupisz, 2009].
The Essence of the Dispute on the Basis of Administrative Procedural Law
The commented judgment of the Supreme Administrative Court of March 15, 2018 [II FSK 3579/17, LEX no. 2467865] should be considered not only in the aspect of theses presented, also indicated as the main problems in the case, but on several levels, for example proper legislation and subjective rights in environmental protection, which makes this judgment interesting and also sets new directions for considerations both in the substantive and legal sphere and trial. In my opinion, this judgment is extremely important because it is part of the tendency to recognize public administration bodies responsible for environmental damage.
Framework theses of the judgment:
◆ The tax jurisdiction of local government units it – pursuant to Articles 94 and 217 of the Constitution of the Republic of Poland of 2 April 1997 [ Journal of Laws – Dz.U. 1997, no. 78, item 483, hereinafter: the Constitution of the Republic of Poland] – significantly limited by the legislator, who may make, and in this case condition, the emergence of competence to introduce a local tax in a given locality on the fulfilment of the rigors established in the regulations generally applicable law, incl. related to environmental protection.
The 3rd European Games: Stakeholders, Profitability, Opportunities and Barriers
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- By Witold Górny
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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- 21 April 2023, pp 173-186
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Introduction
Despite many unfavourable circumstances and organizational barriers (including the COVID-19 pandemic, the outbreak of the war in Ukraine), the 3rd European Games, which will be hosted in Krakow and Malopolska (Lesser Poland Voivodeship) in the summer of 2023, are fast approaching.
The second after EURO 2012 and the largest – taking into account only interdisciplinary events – sports event in Poland, is a real challenge for its organizers and the entire society of our country (especially its southern part). The research problem undertaken in this study is an attempt to identify and briefly characterize individual stakeholder groups of the event organized in southern Poland. It is complemented by – a simplified, as it is based on a still incomplete set of information about the planned event – assessment of the profitability of this event for their individual groups.
The structure of the article consists of two main parts. In the first of them, using a conceptual grid taken from the model of participants in a sports event of Tommy D. Andersson [2013, p. 240], the stakeholders of the 3rd European Games in Krakow and Malopolska were identified and characterized. In the second, based on the mechanism of a great sports event, Marek W. Kozak [2017a, p. 152] assessed the opportunities and threats that the organization of this event in southern Poland brings for individual groups of its stakeholders. Due to the deficit of scientific studies on the 3rd edition of the European Games, the considerations were based largely on the available press materials and – otherwise very few – documents and normative acts.
Stakeholders in the Organization of European Games Krakow-Malopolska 2023
Characterizing the process of organizing a great sporting event, T.D. Andersson presented a model of participation in a big sports event based on the concept of the so-called “triple helix” [Andersson, 2013, pp. 239–241]. The author distinguished and characterized three groups of stakeholders of great sports events: event creators, the economic zone and the community (social) zone. In the opinion of T.D. Andersson, the diverse involvement of the corresponding groups, in turn: the event organizers, business and administration, determines the success of the event and its short-term and long-term effects.
Miscellaneous Endmatter
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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- 21 April 2023, pp 244-244
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Art Crime: Case Studies
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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- 21 April 2023, pp 67-80
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Non nobis solum, sed omnibus.
Marcus Tullius Cicero (106 b.C.–43 b.C)Introduction
It seems that the phenomenon of crime plays a defining role in our contemporary and fully connected society. In some places across the globe, crime has grown to such an alarming proportion that it has managed to destabilize entire States and regions.1 Add to this reality the fact that political crises, energy crises and social crises also take place on a growing scale. This is the new normal, according to Jeremy Rifkin [Rifkin, 2013, p. 75]. Zygmunt Bauman has a similar understanding: the “fluid” reality of any globalized society now presents a permanent “state of crisis” [Bauman, 2016, p. 10].
Art criminality is no recent phenomenon, but it has also been catapulted by the aforementioned context. It is (or should be) a cause of great concern, but due to its very specific nature, it is heavily underestimated by state's actors, by the academic environment and by the society in general, regardless of its great potential and ubiquitous damages. Compared to other forms of crime that are more focused by academic discussions, art crime has a more limited area of knowledge.
The following research hypotheses were defined (in order to validate possible conclusions): the possibility to assess knowledge on art fraud and forgery cases and the lessons that can be learned from them. A simple methodology was used to verify the sources of information regarding this topic: dialectic (approaching a truth through examining and interrogating ideas, perspectives or arguments), monographic (an article written on a single/ specialized topic aiming to provide suitable answers to an inquiry) and bibliographic (collecting sources of information from scholars and scientists).
The justification to this work is based on the importance of researching and deepening the discussion of an underestimated3 area of expertise: art criminality must gather more attention from the society and public authorities, for it has potential to generate great damages, as it will be shown throughout this article. Two main research questions were defined: how does art criminality manifests itself? What lessons can be learned from known art forgery and art fraud cases in order to better prevent and enforce this type of criminal endeavor?
Cultural Heritage of Ivano-Frankivsk Region: Problems of Protection and Preservation
- Edited by Piotr Dobosz, Jagiellonian University, Krakow, Witold Górny, Jagiellonian University, Krakow, Adam Kozień, Jagiellonian University, Krakow, Anna Mazur, Bartosz Mazurek
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- New Trends in the Protection of Cultural and Natural Heritage
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- 21 April 2023, pp 47-66
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Art and cultural monuments are valued and preserved, as they deserve, only when the whole society sees in them the sanctities narrated by ancestors, holiness to be preserved for future generations. Then they are not just sights, they are the living foundation of national culture for centuries to come.
Metropolitan Andrei SheptytskyIntroduction
Protection and preservation of cultural heritage is an important direction of the state's humanitarian policy. At the same time, this is an area of cultural activity where the participation of executive authorities and local self-government bodies is quite significant and responsible.
Protection of cultural heritage remains the most problematic activity in the field of culture, as its objects – “landmarks, buildings, complexes […], as well as territories or water bodies […], other natural, natural-anthropogenic or man-made objects … that have brought to our time value from the archaeological, aesthetic, ethnological, historical, architectural, scientific or artistic point of view and have preserved their authenticity” [Про охорону культурної (On the protection)] – are the most vulnerable to external destructive influences and are often at the intersection of opposing interests of the state as the main subject of preservation of cultural heritage, and interested public organizations and movements, on the one hand, and subjects of economic activity – on the other. At the same time, the institutional and legal support for the preservation of the cultural heritage of Ukraine has certain shortcomings that negatively affect the protection of cultural heritage monuments [Інституційні та правові (Institutional and legal)].
Preservation of cultural heritage as one of the main factors in the formation of Ukrainian national identity, an integral part of the world cultural heritage of mankind is a duty of the state and the public, a responsibility to future generations [Про Рекомендації парламентських (On the recommendations)].
Mary Wigman i Azja: między orientalizmem i transnacjonalizmem
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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- Re-writing Dance Modernism: Networks
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- 31 March 2023, pp 143-162
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W wykładzie w Muzeum Sztuki w Łodzi w 2016 roku, zatytułowanym Nation and World in Modern Dance (Naród i świat w tańcu modern), uwypukliłam napięcie pomiędzy narodowymi i transnarodowymi podejściami do historii tańca modern, odnotowując „problemy, przed którymi stawali historycy tańca modern przez ostatnie sto lat”:
Czy należy podkreślać związki ponadnarodowe, ryzykując umniejszenie istotnej roli lokalnych kontekstów i polityk narodowych w kształtowaniu tańca modern? Czy też może trzeba zaznaczyć silniej lokalne uwarunkowania i narodowe tradycje, co z kolei obciążone jest ryzykiem umniejszenia znaczenia kontaktów międzynarodowych?
Przez ostatnie dziesięć lat zastanawiałam się, jak rozpisać transnarodową historię tańca modern, akcentując wątki inne niż te, na których skupiłam się w swojej pierwszej monografii poświęconej tańcom Mary Wigman, zatytułowanej Ecstasy and the Demon (Ekstaza i demon). Chociaż zakończyłam ją rozdziałem poświęconym wpływowi Wigman na amerykański taniec modern w latach 30. XX wieku, głównym przedmiotem badań były zmiany zachodzące w pracach Wigman z biegiem lat, rozpatrywane w kontekście zmieniającego się zarysu państwa niemieckiego, począwszy od transformacji rządu (i granic geograficznych) wraz z końcem epoki wilhelmińskiej, za czasów której Niemcy posiadały kolonie w Afryce Wschodniej, Kamerunie, Namibii, Nowej Gwinei oraz Samoa Niemieckim, przez okres Republiki Weimarskiej (kiedy to, na mocy traktatu wersalskiego, Niemcy utraciły kolonie na rzecz innych mocarstw europejskich), Trzecią Rzeszę (i aneksję sporej części Europy przez Hitlera), po okres powojennej okupacji i podziału Niemiec (zgodnie z ustalonymi przez aliantów granicami, dzielącymi kraj na część wschodnią i zachodnią, a także przyznaniem Alzacji Francji, a Śląska i Gdańska – Polsce). Książkę Ecstasy and the Demon pisałam po zburzeniu muru berlińskiego; perspektywa ta dojmująco uświadomiła mi, jak radykalnym zmianom podlegały państwo niemieckie i niemiecka kultura artystyczna w ciągu ubiegłego stulecia.
Kiedy w 2006 roku ukazało się drugie wydanie Ecstasy and the Demon, zjednoczone państwo niemieckie było już oczywistością, a coraz bardziej globalizujący się świat wymusił na badaczach i badaczkach zajmujących się sztuką i naukami humanistycznymi uznanie ograniczeń metodologii opartych na kryterium państwa narodowego, zastępując je podejściami bazującymi na ponadgranicznym przepływie i migracjach. I choć druga edycja Ecstasy and the Demon była przedrukiem wydania z 1993 roku, poprzedziłam ją wstępem, w którym nakreśliłam nowe kierunki badań, wzywając do „poświęcenia uwagi temu, jak prace choreograficzne [Wigman] przekraczały granice narodowe” nie tylko podczas jej intensywnych tras po Europie i USA, lecz również w zakresie edukacji uczennic i uczniów, którzy przeszczepiali metody Wigman do „Francji, Wielkiej Brytanii, Szwecji, Argentyny, Chile, Australii, Kanady, Izraela, Japonii, i Stanów Zjednoczonych”.
Prze-pisać taneczny modernizm: sieci
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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- Re-writing Dance Modernism: Networks
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Zaczynem niniejszej książki było spotkanie. W grudniu 2016 roku w Łodzi odbyła się konferencja Jak myśli ciało? Cielesno-ruchowe praktyki doby modernizmu. Wydarzenie to, połączone z wystawą Poruszone ciała. Choreografie nowoczesności, w ramach której pokazywano też inspirowane modernizmem działania współczesnych artystów tańca, zgromadziło należących do różnych pokoleń badaczy z kilku krajów – wśród nich byliśmy Susan Manning i ja. Z dużym zdziwieniem i radością odkryliśmy, że choć mieszkamy daleko od siebie, to nasze korzenie w sensie geograficznym są wspólne. Rodzina amerykańskiej badaczki, urodzonej już w Stanach Zjednoczonych, wywodzi się z Opolszczyzny, gdzie urodziłem się i wychowałem. Nie byłoby w tym nic wartego wzmianki, gdyby nie fakt, że jednym z tematów konferencji, właśnie dzięki Susan Manning, była kwestia związku między historią tańca a geografią, którą badaczka rozważała w wystąpieniu opublikowanym potem pod tytułem Naród i świat w tańcu modern w tomie Poruszone ciała: Choreografie nowoczesności. W swoim referacie Manning podkreślała problematyczność patrzenia na historię tańca modern w kluczu narodowym, wprowadzającym sztucznie podkreślane różnice między tradycjami (zarówno w sensie praktyk tanecznych, jak i historycznych narracji), prowadzącą do hegemonii najsilniejszych w tej dziedzinie tradycji: amerykańskiej i niemieckiej, oraz marginalizacji innych. Idąc tym tropem, należałoby oczekiwać, że także badacze wykształceni w różnych systemach akademickich pisać będą historie wyrażające ducha ich narodów. Nasze spotkanie pokazało jednak, że sytuacja jest znacznie bardziej skomplikowana, więc relacja między geografią a historią w odniesieniu do studiów nad tańcem modernistycznym domaga się głębszego przemyślenia.
W wyniku nacjonalizacji historii tanecznego modernizmu, rozciągającego się od pionierskich praktyk Loie Fuller i Isadory Duncan po projekty pokolenia Merce’a Cunninghama i Alwina Nikolaisa, nastąpiło sztuczne ujednolicenie charakteru najróżniejszych praktyk artystycznych, które przyjęło się określać bardzo w gruncie rzeczy wieloznacznym i pojemnym terminem „taneczny modernizm”, jako wyrażających amerykańską bądź niemiecką tożsamość kulturową. W paradygmacie kulturowego nacjonalizmu naród nadpisuje się nad światem życia (artystycznego), niejako z góry naznaczając praktyki twórcze tożsamością narodową. Proces ten można oczywiście postrzegać jako nieodłączną część modernizacji, której kulturowym aspektem, jak pokazały choćby klasyczne prace Ernesta Gellnera i Benedicta Andersona7, jest nacjonalizacja zbiorowych tożsamości. Ujęty z tej perspektywy zabieg nacjonalizacji może być uznany za wyrażający istotę tanecznego modernizmu.
Palimpsests: Dance Modernism
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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- Re-writing Dance Modernism: Networks
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- 31 March 2023, pp 321-348
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She must have touched hundreds of floors, sensing them underneath her (bare) feet, tracking them on her skin, experiencing new textures, probing them: they may have given her a sense of stability, or that of resistance. She stood on them, walked on them, ran on them, fell down and got back up again. She must have danced with them, too. Did she, though?
He must have touched hundreds of others. But also himself. Not only during dance classes, rehearsals, and performances, but also beyond them. In his daily life? Only if the classes, rehearsals, and performances were not part of the daily routine – and yet they were. Still, touch during rehearsals differs from that during performances. What were those types of touch like to him? Did he classify them, and if so, how? Is it possible to speak of specifically dance-related types of touch? Ones that must be learned, trained, and offered to the gaze, which does touch one, too, albeit in different ways (what is the [arbitrary?] difference between them?). He must have practiced some politics of touch. Did he, though?
They must have considered what they were doing. They must have had some notions of their own practice. They must have justified their dance (given that they might have pursued other paths through life), i.e., stand for something, and against something else. This is what choreography appears to be about: making a discursive sense of motion. But were they, indeed, after motion? They had to think about it, they can't have been sure of what they were doing. They can't have performed modernism. Modernism came later, or was rather prescribed for us and administered to them much like a treatment to the uncertain experience of dance movement, the elusiveness of movability (let me call it “dancing”), which we discerned in them (or which we [have] imputed to them?). Modernism had to be written in order to make sense of what they did. It had to be written by others, just like they had to write (about) “their” movement. Did they, though?
The above questions are all theoretical, i.e,. they follow on from an attempt to systematize practice, subject it to contemplative observation, one that is by no means passive or (contrary to the more radical constructivists) self-referential.
Mary Wigman and Asia: Between Orientalism and Transnationalism
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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- Re-writing Dance Modernism: Networks
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- 01 March 2024
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- 31 March 2023, pp 427-446
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Summary
Addressing the topic of “Nation and World in Modern Dance” at the Muzeum Sztuki in Łódź in 2016, I highlighted the tension between national and transnational approaches to modern dance history, noting an “issue that has confronted historians of modern dance over the last hundred years:”
Do we emphasize transnational connections and risk downplaying the significant role of local contexts and national politics in shaping modern dance? Or do we emphasize local circumstances and national continuities and risk downplaying the significant role of transnational encounters?
Over the last decade, I have pondered how to script a transnational history of modern dance, reversing the emphasis of my first monograph on the dances of Mary Wigman, titled Ecstasy and the Demon. Although the monograph closed with a chapter on the impact of Wigman on American modern dance in the 1930s, Ecstasy and the Demon largely focused on how Wigman's works altered over time in relation to the changing contours of the German nation-state, as its government – and geographic boundaries – shifted from the Wilhelmine Empire (when Germany had colonies in East Africa, Cameroon, Namibia, New Guinea, and Samoa) to the Weimar Republic (when the Versailles treaty reassigned the control of German colonies to other European powers) to the Third Reich (when Hitler annexed significant portions of Europe) to the postwar occupation and division of Germany (when the Allies drew new boundaries, dividing the country into East and West and reassigning Alsace to France and Silesia (Śląsk) and Danzig (Gdańsk) to Poland). Ecstasy and the Demon was written during the years surrounding the Fall of the Berlin Wall, and from that perspective I was intensely aware of how the German state and German artistic culture had undergone radical shifts over the last century.
By the time the second edition of Ecstasy and the Demon was published in 2006, the unified German state was a matter of course, while an increasingly globalized world had compelled scholars in the arts and humanities to recognize the limitations of approaches premised on the nation-state and to innovate approaches premised on cross-border circulation and migration.
Transcultural Cross-over: Polish Dance (1918–1939)
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Summary
The dynamic changes that occurred in dance aesthetics and kinaesthetic techniques in the first two decades of the twentieth century were most visible in Germany and France. These two countries were the first ones to witness the emergence of the choreographies that anticipated modernist dance styles and genres, which took place against the broad background of the avant-garde movement in various forms of art. Furthermore, Germany and France were the countries where the foundations of new movement theories were laid that not only concerned artistic dance but also popular body culture. Thus, it is no wonder that artists from these countries were most open to influences from North America and they knew how to use them to reform dance on the old continent. The increasingly numerous German and French dance companies and schools were very successful in attracting artists from other countries and especially from Central and Eastern Europe, where many nations, including Poland, did not have their own independent states, or even their own national cultural institutions. Therefore, one may argue that till the end of the Great War, the channels through which the ideas and techniques of modernist dance were spread were rather limited and unidirectional, as dance practitioners from Central and Eastern Europe educated themselves and developed their dance techniques in Western European centers, where they created their own concepts of stage movement and where they usually continued their dance careers. Rudolf Laban was born in Presburg (Bratislava) in what is now Slovakia; Rosalia Chladek came from Brünn (Brno) in the Czech Republic; Warsaw was Marie Rambert's city of birth; Vaslav Nijinsky, who had Polish parents, was born in Kiev in Ukraine, while his sister Bronislava – in Minsk in Belarus, to name but a few examples. Thus, due to the artists’ migration to German and French cultural centers, European modernist dance was from the very beginning a transnational and transcultural phenomenon.
The situation changed dramatically in 1918, when the war ended and the political map of Europe was radically redrawn. The regaining of independence by, for instance, Poland, Ukraine, Lithuania, and Czechoslovakia gave a strong impulse to the creation of new national artistic institutions and to the idea of expressing one's own national identity through art
Prze-pisać taneczny modernizm – perspektywa chorwacka
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Tytuł referatu, z którym wystąpiłam na konferencji Re-writing Dance Modernism, brzmiał: Odzyskiwanie historii chorwackiego tańca w okresie międzywojennym. Moje wystąpienie miało dwa cele: pierwszym było uznanie wysiłków chorwackich historyków i historyczek tańca, w szczególności Mai Đurinović, na rzecz przywrócenia pamięci o chorwackich artystach i artystkach tańca, których dorobek po II wojnie światowej celowo pomijano i skazywano na zapomnienie w ramach powstającej historiografii sztuki Socjalistycznej Federacyjnej Republiki Jugosławii. Drugim celem było wprowadzenie chorwackiego modernizmu do międzynarodowego obiegu badań nad tańcem oraz poszerzenie dominujących narracji o modernizmie w tańcu – skupionych wokół Niemiec i Stanów Zjednoczonych – o europejskie pobocza, które, jak dowodzą źródła, stanowiły (do dziś w dużej mierze niezbadaną) część międzynarodowej społeczności modernistycznej.
Pracując nad pierwszą wersją tego artykułu, opierałam się na materiałach zgromadzonych w chorwackim czasopiśmie tanecznym „Kretanja/ Movements”, w którym opublikowano wystąpienia z okrągłego stołu dotyczącego berlińskiej Olimpiady Tanecznej w 1936 roku. Szczególną uwagę podczas tych obrad poświęcono chorwackim uczestnikom i uczestniczkom berlińskiego konkursu – prominentnym przedstawicielom i przedstawicielkom chorwackiej sceny tanecznej (folklorystycznej, baletowej i niezależnej), których występy w Berlinie okazały się na tyle udane, że można pokusić się o nazwanie ich swoistym cudem. Udział Chorwatów w berlińskim konkursie potwierdził na kilku poziomach międzynarodowe koneksje i znaczenie chorwackich tancerzy i tancerek oraz praktyk tanecznych w kontekście europejskim. Omówienie rzeczonych koneksji, wpływów i znaczeń czy, innymi słowy, przynależności chorwackich artystów i artystek tańca ery międzywojennej do szerszej, międzynarodowej lub wręcz ponadnarodowej społeczności modernistycznej, działającej w Europie od przełomu wieków, jest jednym z głównych tematów niniejszego tekstu.
Na innym poziomie analiza tanecznego modernizmu w Chorwacji odsłania dwie kolejne cechy, które, jak sądzę, można odczytać w kategorii modernistycznej sieci kontaktów oraz wspólnych dla niej cech transgranicznych. Jedną z nich jest napięcie (zauważalne również w Chorwacji) pomiędzy transnarodowym i międzynarodowym charakterem tańca modern a „nacjonalizmem tanecznym”, którego przejawem w chorwackiej wersji tanecznego modernizmu było intensywne zainteresowanie folklorem. W poniższym omówieniu skrótowo interpretuję chorwacki nacjonalizm taneczny w świetle specyficznego kontekstu społeczno-politycznego i kulturowego, w jakim powstawał, jednocześnie jednak sugeruję, że podlega on również interpretacji na poziomie transnarodowym, jako zjawisko typowe dla tanecznego modernizmu.
Frontmatter
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Re-writing Dance Modernism: Networks
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Summary
This book germinated from a meeting. In December 2016, Łódź hosted the international conference How Does the Body Think? Corporeal and Movement Based Practices of the Modernism Era. Accompanied by the exhibition Moved Bodies: Choreographies of Modernity, which showcased contemporary dance projects inspired by modernism, the event attracted researchers representing several different countries and generations. Among others, the list of participants included the authors of studies featured in this collection: Susan Manning and myself. We were both surprised and delighted to discover that although we lived far apart, our roots were common in a geographical sense. Although she was born in the United States, Manning's family originated from the Opole region, where I was born and raised. This would not be worth mentioning had it not been for the fact that one of the conference themes, addressed in Manning's paper, concerned the interlinks between the history of dance and geography which she considered in a contribution subsequently published under the title Nation and World in Modern Dance, featured in the edited collection Moved Bodies. Choreographies of Modernity. In her paper (and in her conversations with me), Manning emphasized the problematic nature of interpreting the history of modern dance through the national lens, which introduces contrived differences between respective dance traditions (both in terms of dance practices and historical narratives), and leads to the hegemony of the strongest ones (i.e., American and German) coupled with the marginalization of others. Following this pattern, one would expect that scholars educated in different academic systems would likewise write histories expressive of the spirit of their respective nations. Our encounter demonstrated that the situation is in fact much more complicated, and that the relation between geography and history in the context of dance studies calls for a more thorough rethinking.
The nationalization of the history of dance modernism, from the pioneering practices of Loie Fuller and Isadora Duncan to the projects conceived by the contemporaries of Merce Cunningham and Alwin Nikolais, artificially unified the character of all sorts of dance practices that have since been habitually referred to by the ambiguous umbrella term of “dance modernism,” expressive of American or German cultural identity.
Metodologie: usieciowianie tanecznego modernizmu
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Biogramy autorów
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Ausdruckstanz Facing History and Memory: Reenacting the Past
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In my article “Ausdruckstanz: Traditions, Translations, Transmissions” on the historiography of German modern dance, I commented on three essays presented in a section of the volume Dance Discourses: Keywords in Dance Research, which deals with dance and politics and the controversial history of Ausdruckstanz, whose intricacies did not fully manifest themselves until the late 1990s. I focused on the relationship (often perceived as tension) between history and memory, and among the many questions I raised, two seem to me to be still stimulating: what is the relationship between schisms and continuities in historical and memorial narratives? Which is the road to take between truth in history, faithfulness of memory and the right of forgetting?
Thanks to the research carried out by Susan Manning, Marion Kant and Lilian Karina, Inge Baxmann, Laure Guilbert, who could work in archives inaccessible until then, and to the cultural framework offered by Inge Baxmann,
official historical narratives have been integrated with forgotten or neglected stories, and modern dance has been reinserted into cultural history. We were also confronted with the memories transmitted by Ausdruckstanz recognized protagonists, who continued to work and live in Germany after the rise of the Nazi Regime, and with those dancers who were forced into exile. The majority of them were Jewish, the others were dancers politically engaged in communist or socialist organizations. At that time, the history and memory of German modern dance seemed to have told different truths, often each one standing firm on the principle of non-negotiability, and their relationship has been loaded with emotionally charged binary oppositions such as bad vs. good, false vs. true, ideological vs. authentic, and so on. Altogether, these new narratives – which were based on historical documents, oral testimonies and incorporated techniques and repertoires – told a different version of events and biographies compared to what was assumed as true for decades by scholars, critics and artists. Re-reading the ambiguous shift from the experimental phase of the 1910s and 1920s to the rise of Nazism has shown how Ausdruckstanz was the result of a long process of cultural transformation and the forerunner of compelling modern utopias.
Palimpsesty: taneczny modernizm
- Edited by Julia Hoczyk, Narodowy Instytut Muzyki i Tańca, Warsaw, Wojciech Klimczyk, Jagiellonian University, Krakow
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Musiała dotykać setek podłóg – czuć je pod (bosymi) stopami, odnajdywać ich ślady na swojej skórze, poznawać różne faktury, wyczuwać je: dające, być może, poczucie stabilności, ale też stawiające opór. Stała na nich, chodziła po nich, biegała, upadała na nie i z nich się podnosiła. Musiała tańczyć także z nimi. Musiała?
Musiał dotykać setek innych osób. Ale i siebie. Nie tylko w czasie tanecznych lekcji, prób i spektakli, ale też poza nimi. W życiu codziennym? Tylko jeśli lekcje, próby i spektakle nie były codziennością, a przecież były. A jednak chyba czym innym jest dotyk podczas próby, a czym innym w czasie występu. Czym więc były dla niego dotknięcia? Czy i jak je klasyfikował? Czy możemy mówić o specyficznie tanecznych rodzajach dotyku? Takich, których trzeba się nauczyć, które należy wyćwiczyć i które potem ofiaruje się spojrzeniu, które przecież też dotyka, ale inaczej (tylko na czym polega założona [arbitralnie?] różnica?). Musiał uprawiać jakąś politykę dotyku. Musiał?
Musieli myśleć o tym, co robili. Musieli tworzyć sobie jakieś wyobrażenia na temat własnej praktyki. Musieli usprawiedliwić swój taniec (bo przecież mogli wybrać inną drogę przez życie), a więc za czymś się opowiedzieć, czyli być przeciwko czemuś innemu. Na tym opiera się choreografia – na nadawaniu dyskursywnego sensu poruszeniu. Ale czy aby właśnie o poruszenie im szło? Musieli się nad tym zastanawiać, musieli nie być pewni tego, co robili. Z pewnością nie robili modernizmu. Ten przyszedł później, a właściwie został przepisany nam i przypisany im niczym kuracja na niepewność doświadczenia tanecznego ruchu, nieuchwytność praktyki tańczenia (nazywam ją „tanecznością”), którą u nich jako historycy dojrzeliśmy (którą im imputowaliśmy/imputujemy?). Modernizm musiał zostać napisany, by to, co robili, miało sens. Inni musieli go napisać, tak jak oni musieli (o)pisać „swój” ruch. Musieli?
Powyższe pytania są teoretyczne, czyli wynikają z próby systematyzacji praktyki, poddania jej procedurze kontemplacyjnego oglądu, który wcale nie jest bierny, ani też (wbrew co bardziej radykalnym konstruktywistom) autoreferencyjny. Teoria ma jak najbardziej praktyczny charakter, jest działaniem, a jednak cierpi na rodzaj kompleksu nadpisania, wtórnego działania, którego istotnym komponentem są procedury wymazywania, redukcji praktyki do bycia jedynie punktem odniesienia dominującego konceptu. I to właśnie ten kompleks należy spróbować zrekonstruować, by taneczny modernizm jako pojęcie nie tyle zanegować czy też ocalić, ile wpisać na nowo w doświadczenie, odegrać (reenact), przywracając mu materialność bez popadania w efektowny, acz banalny materializm, zgodnie z którym teoria jest zbędna, bo ludzie po prostu robią taniec, a nie piszą go.