The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

Tomasz NOWAK Institute of Musicology The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

Musicology Today • Vol. 11 • 2014 DOI: 10.2478/muso-2014-0011

Abstract perspective on dance concentrated on the origins and history of dance, and contemporary dance was studied The mainstream fields of Polish dance research were defined only for comparative purposes. To this end, Western in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz European publications were probably used, as to date Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, we do not know of any Polish theoretical works from the th krakowiak and kozak). Oskar Kolberg knew very well the works of all 18 century devoted to dance. these authors and referred to them many times. However, he was unique The first cultural environment to take up the topic in his extensive documentation of dance melodies, information about of dance was Warsaw, especially the milieu of the their geographic origin, and local terminology. He also characterized Warsaw Society of Friends of Learning and the Royal the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. University of Warsaw of the times of Stanisław Staszic Oskar Kolberg’s documentation for quite a long time remained and Julian Ursyn Niemcewicz. A foreshadowing outside the scope of mainstream research and publications about of the interest in Polish dance – especially its emblematic dance in Poland. In the 1930s Polish representatives of the newly forms considered as the national dances, which in fact defined field of ethnochoreology were the first to include examples were the dances popular among all social classes in the from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works previous centuries, reinterpreted by the nobility and the increased in popularity after the World War II. Today the materials left bourgeoisie – can be found in Józef Elsner’s Rozprawa by Oskar Kolberg allow us to establish to a large extent the geographic o metryczności i rytmiczności języka polskiego [Treatise range and perspective on the changes of dance repertoire, both with regard on Rhythm and the Metric Character of the Polish to choreographic technique and dance types, or a more detailed and critical Language] of 18182. However, the mainstream interest perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective of Polish researchers was set out in Kazimierz Brodziński’s or comparative studies – which may not be very fashionable today, but short treatise O tańcach polskich [On Polish dances] which have never been adequately conducted in Poland. of 1829, which focused on the polonaise, mazur, krakowiak and kozak3. In this work, as well as in his poem Keywords: Oskar Kolberg, dance documentation, Wiesław4 written nine years earlier, Brodziński broadly etnochoreology characterized some elements of dance music, the basic steps, figures and gestures, as well as dance situations. In order to properly evaluate the importance of the At times, he also outlined the historical context of the collection of Oskar Kolberg for the choreological research, dances, related to their origins and transformations first it is necessary to define the place which Kolberg’s of the form of some dance types. However, he freely materials occupy in the Polish tradition of dance combined the observation of salons and taverns studies. Despite the regular presence of practical dance from various regions of the country (most often education (including the national and characteristic without identifying their location) under the names dances) in convent schools and in cadet units, starting of genres, discussing, in fact, generalized types not later than the mid-17th century, theoretical interest of dances. This method of description became the in choreology has so far only been confirmed to appear dominant method in Polish writings about dance until at the end of the 18th century in schools under the authority the 1930s, and it is still quite common at present. of the National Education Committee (KEN), which – as is widely known – encouraged the teaching of “the 2 J. Elsner, (1818). Rozprawa o metryczności i rytmiczności history of arts and crafts”. It is confirmed in a report języka polskiego: szczególniéy o wierszach polskich we względzie from 1786 related to the subdivisional schools in Płock muzycznym. Cz. I przez Józefa Elsnera z przykładami rzecz region, in which KEN’s general inspectors – Walerian obiaśniaiącemi przez Kazimierza Brodzińskiego [Treatise on Rhythm and the Metric Character of the Polish Language, Bogdanowicz and Father Bonifacy Garycki – noted that Particularly – on the Musical Settings of Polish Poetry, Part I, these schools were teaching “of the time of invention by Józef Elsner, with Musical Examples by Kazimierz Brodziński]. of dances, the difference in use of dances today and Warsaw: Drukarnia Stanisława Dąbrowskiego. in old times, and how varied the dances were with our 3 K. Brodziński, (1829). O tańcach polskich (polonez, ancestors”1. As evident from this example, the theoretical krakowiak, mazurek, kozak) [On Polish Dances (The Polonaise, the Krakowiak, the Mazurka, the Kozachok)], Melitele. Vol. 1, pp. 93–101. 1 J. Prosnak, (1955). Kultura muzyczna Warszawy XVIII wieku [Musical Culture in Warsaw in the 18th Century]. Cracow: Polskie 4 Idem, (1820). Wiesław: sielanka krakowska [Wiesław: An Idyll Wydawnictwo Muzyczne, p. 219. from Cracow]. Warsaw: Nakład Gebethnera i Wolfa.

14 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

Apart from the aforementioned works, a very important Czerniawski and Gołębiowski8, together with their place is occupied by the more historical (though strongly mistakes and simplifications, but only rarely includes ethnographic in character) Lud Polski [The Polish People] quotations from authors discussing traditional and by Gry i zabawy… [Games and Plays of Various Social dances9 as a secondary topic. For example, for quite Groups in the Entire Country and its Provinces] by Łukasz a long period Kolberg, following Czerniawski’s approach, Gołębiowski, written in the years 1830–18315. Łukasz considered kujawiak and oberek to be synonymous10, Gołębiowski’s contribution was especially decisive in the which may also have resulted from the observation process of synthetizing the very diverse and sometimes of a practice common in Kuyavia, namely – that disparate historical and ethnographic accounts, of which of starting a dance series with a kujawiak to then gradually many have not survived to our times, into concise moving to the oberek11. Oskar Kolberg introduced descriptions. It was only in the last years before World the distinction between an oberek and a kujawiak War I that historical records concerning Polish dances only directly before 1867 as a result of comments attracted more interest, although even today there are he received in field study12 and collected press clippings13. authors who are content with Gołębiewski’s analysis Naturally there are many more examples of such imitation alone. or direct references to his predecessors. Apart from the above, there is one more publication However, there is one aspect in which Kolberg that had a very strong impact on the Polish research was unique even in this first period: the broad tradition: Karol Czerniawski’s text of 1847 (reprinted documentation of dance melodies together with their in 1860) relating more to contemporary salon and theatre variants and information about their geographical culture6. One needs to stress that despite the certain origins. In the earlier period of Polish folk studies, superficiality of this book and neglect of country dances, the only such study took place in 1819 near Cieszyn, the author nevertheless discussed dances regarded as the where a group of local folklore collectors wrote down national repertoire of the time in a geographically very several dance melodies, and even this was inspired broad (and very modern for his time) context of function, from the outside by the Friends of Music Association spatial forms and characteristic sets of movements. of the Austrian Empire in Vienna14. In other music Czerniawski’s work was popular at the time of the academic debut of Oskar Kolberg, who – during his 8 O. Kolberg, (1963/1873). Krakowskie [The Cracow Region], studies in the – had a chance to become part II, Dzieła wszystkie [Complete Works], vol. 6. Wrocław- acquainted also with lectures and publications by Brodziński, Poznań: IOK, pp. 367–374; Idem, (1963/1886). Mazowsze admired by the capital’s youth. Undoubtedly, as a mature [], part II, Dzieła wszystkie [Complete Works], vol. 25. Wrocław-Poznań: IOK, pp. 284–298; Idem, (1971). scholar he knew the works of all these authors very Ruś Karpacka [Carpathian Ruthenia], part II, Dzieła Wszystkie well and related to them many times, which reflects [Complete Works], vol. 55. Wrocław-Poznań: IOK, p. 414. 7 the special place that the topic of national dances 9 Mainly Władysław Anczyc, Józef Bliziński, Edward Chłopicki, occupies in his works. He frequently quotes Brodziński, Juliusz Chodorowicz, Balthasar Hacquet, Bartłomiej Harbuzowski, Jan Kleczyński, Kornel Kozłowski, Józef Mączyński, Kazimierz 5 Ł. Gołębiowski, (1830). Lud Polski, jego zwyczaje, zabobony Władysław Wójcicki. See: O. Kolberg, (1963/1873). Krakowskie, [The Polish People, Its Customs and Superstitions]. Warsaw: part II, pp. 374–376; Idem, (1963/1886). Mazowsze, part II, Gałęzkowski i S-ka; Idem, (1831). Gry i zabawy różnych stanów pp. 298–301; Idem, (1968). Góry i Podgórze [The Region of w kraju całym, lub w niektórych tylko prowincyach [Games and Mountains], part II, Dzieła wszystkie [Complete Works], vol. Plays of Various Social Groups in the Entire Country and its 45. Wrocław-Poznań: IOK, pp. 353–354; Idem, (1971). Ruś Provinces]. Warsaw: N. Glücksberg. Karpacka, part II, pp. 413–416. 6 K. Czerniawski, (1847). Charakterystyka tańców przez Karola 10 Idem, (1961/1857). Pieśni ludu polskiego [The Songs of the Czerniawskiego [Dances Characterised by Karol Czerniawski]. Polish People], Dzieła Wszystkie [Complete Works], vol. 1. Warsaw: Drukarnia Stanisława Strąbskiego; Idem, (1860). Wrocław–Poznań: IOK, p. VIII. O tańcach narodowych naszych z poglądem historycznym 11 Idem, (1962/1867). Kujawy [Kuyavia], part II, Dzieła Wszystkie i estetycznym na tańce różnych narodów, a w szczególności [Complete Works], vol. 4. Wrocław–Poznań: IOK, p. 204. na tańce polskie [On Our National Dances, in the Historical Ibidem, p. 202. and Aesthetic Context of the Dances of Various Nations, Especially 12 of the Polish Folk]. Warsaw: Drukarnia K. Kowalewskiego. 13 O. Kolberg, (1963/1886). Mazowsze, part II, p. 298. 7 O. Kolberg, (1963). Polskie tańce ludowe w dziełach Oskara 14 J. Londzin, (1930). Poezja ludowa [Folk Poetry], Zaranie Śląskie. Kolberga: wypisy [Polish Folk Dances in Oskar Kolberg’s Works: No. 4, p. 170; J. Pośpiech, (1977). Tradycje folklorystyczne A Selection]. M. Drabecka (Ed.). Warsaw: Centralna Poradnia na Śląsku w XIX i XX wieku (do roku 1939) [Folkloric Traditions Amatorskiego Ruchu Artystycznego, p. 8. in Silesia in the 19th–20th Centuries (until 1939)]. Warsaw- Wrocław: Państwowe Wydawnictwo Naukowe, p. 3.

15 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

collections, hardly more than every tenth, or even However, it is not just the sheer volume of the material every twentieth song text was accompanied by notated left behind by Kolberg that he should be admired for. melodies, and dance music was almost totally neglected. With time, also his own descriptions of dances included Of course, mazurkas, krakowiaks, kujawiaks and in his work acquired a special character. While in the obereks were composed in huge numbers, but these publication of 1857 we only find laconic and imprecise were – at best – artistic takes on village repertoire characterisations of several dances, based on the accounts (if not – bourgeoisie reinterpretations). Kolberg, who of his predecessors17, in his later regional monographs, was not foreign to composing “in the rural style” published from 1865 on, Kolberg first characterised each or at least processing the melodies collected during field dance as part of the description of customs and rites18, studies, in his compositions and popularising activities and later tried as accurately as possible to describe the predominantly used themes notated during field development of the dance and the dance situation19. expeditions. In 1857, however, he broke away from the This refers predominantly to dances observed by him common practice of his time, publishing transcriptions directly in field studies, as exemplified in his publications of 466 dance melodies in a volume which thus on Kuyavia, the Cracow region or the Grand Duchy exceeded in scope the totality of all previous collectors’ of Poznań. Kolberg’s involvement in documenting publications. During Kolberg’s lifetime more than dance structures was related to the manifesto-cum- 10 volumes with chapters dedicated to dance melodies plea he published in “Biblioteka Warszawska”, where were published15. Moreover, in his manuscripts Kolberg he announced his call to collect among the common left a collection exceeding the number of dance melodies folk, among others: “Dances. Description of those and published during his lifetime by an order of magnitude16. notation, if possible. Rites, namely: weddings, in detail with all ceremonies […] music, dance, […] tavern 20 15 For instance, in volumes prepared for print by the author games and parties.” . He himself gave an example himself: O. Kolberg, (1961/1857). Pieśni ludu polskiego, of such a publication already in 1867 in his monograph pp. 309–448; Idem, (1962/1867). Kujawy, part II, pp. 213–260; on Kuyavia, describing not only the successive Idem, (1963/1873). Krakowskie, part II, pp. 381–516; Idem, components of the situational context but also the dance (1963/1880). Wielkie Księstwo Poznańske [The Grand Duchy of Poznań], part V, Dzieła wszystkie [Complete Works], vol. 13. technique in an instructive manner, as well as quoting 21 Wrocław-Poznań: IOK, pp. 79–178; Idem, (1962/1884). Lubelskie local folk terminology : [The Region], part II, Dzieła wszystkie [Complete Works], vol. 17. Wrocław-Poznań: IOK, pp. 16–64; Idem, (1963/1886). (1967). Kaliskie i Sieradzkie [The and Sieradz Regions], Kieleckie [The Region], part II, Dzieła wszystkie [Complete Dzieła Wszystkie [Complete Works], vol. 46. Wrocław-Poznań: Works], vol. 19. Wrocław-Poznań: IOK, pp. 1–130; Idem, (1964/1888). IOK, pp. 387–460; Idem, (1994) Podole [Podolia], Dzieła Radomskie [The Region], part II, Dzieła wszystkie Wszystkie [Complete Works], vol. 47. Wrocław-Poznań: IOK, [Complete Works], vol. 21. Wrocław-Poznań: IOK, pp. 97–137; pp. 221–242; Idem, (1967). Tarnowskie-Rzeszowskie [The Idem, (1964/1889). Łęczyckie [The Łęczyca Region], Dzieła Tarnów and Rzeszów Regions], Dzieła Wszystkie [Complete wszystkie [Complete Works], vol. 22. Wrocław-Poznań: IOK, Works], vol. 48. Wrocław-Poznań: IOK, pp. 247–257; Idem, pp. 184–254; Idem, (1963/1886). Mazowsze, part II, pp. 167–256; (1974). Sanockie-Krośnieńskie [The Sanok and Regions], Idem, (1963/1887). Mazowsze [Mazovia], part III, Dzieła wszystkie part II, Dzieła Wszystkie [Complete Works], vol. 50. Wrocław- [Complete Works], vol. 26. Wrocław-Poznań: IOK, pp. 309–336; Poznań: IOK, pp. 403–442; Idem, (1979). Ruś Czerwona [Red Idem, (1963/1888). Pokucie [Pokuttia], part III, Dzieła wszystkie Ruthenia], part II/2, Dzieła Wszystkie [Complete Works], vol. [Complete Works], vol. 31. Wrocław–Poznań: IOK, pp. 1-78; 57/2. Wrocław-Poznań: IOK, pp. 1190–1246. Idem, (1964/1891). Przemyskie [The Przemyśl Region], Dzieła wszystkie [Complete Works], vol. 35. Wrocław-Poznań: IOK, 17 Idem, (1961/1857). Pieśni ludu polskiego, pp. VIII–IX. pp. 193–198. 18 Idem, (1962/1865). Sandomierskie [The Sandomierz Region], 16 Idem, (1965). Pomorze [Pomerania], Dzieła wszystkie Dzieła Wszystkie [Complete Works], vol. 2. Wrocław–Poznań: [Complete Works], vol. 39. Wrocław-Poznań: IOK, pp. 251–258; IOK. Idem, (1969). [Mazovia], part VI, Dzieła wszystkie [Complete 19 Idem, (1962/1867). Kujawy, part II, pp. 199–212; Idem, Works], vol. 41. Wrocław-Poznań: IOK, pp. 129–142, 294–412, (1963/1873). Krakowskie, part II, pp. 376–380. 547–578; Idem, (1969). [Mazovia], part VII, Dzieła wszystkie Idem, (1865). List otwarty [Open letter]. Do Redakcyi [Complete Works], vol. 42. Wrocław-Poznań: IOK, pp. 131– 20 Biblioteki Warszawskiéj [To the Editors of the Warsaw Collection], 184; 292–310; Idem, (1970). Śląsk [Silesia], Dzieła wszystkie Biblioteka Warszawska. No. 1, pp. 307–308. [Complete Works], vol. 43. Wrocław-Poznań: IOK, pp. 65–69; Idem, (1968). Góry i Podgórze, part II, pp. 355–446; Idem, 21 Idem, (1962/1867). Kujawy, part II, pp. 199–201.

16 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

[…] turning around for some time, and followed in this The average tempi of this movement may be characterized by all the dancers, he throws his left hand (when his right hand as follows: chodzony ♪= 100-120 M.M.; Kujawiak – slower is free) around the waist of his partner, who holds him around the ♪ = 120–140 M.M., faster ♪ = 140–160 M.M.; obertas ♪ = 160–180 belt with her right hand, while her left hand is free, he suddenly M.M. […] three equally stressed parts to a bar (as in the metrical stops for a moment in front of the fiddler, and humming to him foot of molossus); these parts tend to be subdivided (often staccato) the melody of the oberek that he wants to be played, or singing into 6 smaller equal parts, split into triplets or even smaller values, the same to the fiddler from afar without stopping the dance, embellished with syncopation or shifts of accent to the weaker he suddenly shouts loudly and sharply: k’seb, na kseb, na ksóbkę parts, subsequently demonstrating an ever greater mobility (smaller (i.e. turn to the left), turns his partner around rear-to-front holding values), as in the foot of the tribrach26. her with his left hand, and then the whole line of dancers changes direction to the opposite, i.e. to the left, or – with a momentarily quicker motion – to the left and right alternatively, only now going Kolberg’s inquisitiveness, although in his time in the direction of the man’s right hand; and under the name unsurpassed by his contemporaries, was still in line with of Mazur they start to dance an oberek, however without the the increased and deepened interest in the traditional boldness of movement typical of the Mazur dance22. village dance, as exemplified by the activities of Kolberg’s collaborators, or correspondents of magazines writing At the same time, Kolberg was studying the correlations on folklore-related topics, especially in “Lud”, “Wisła” between the terminology and choreographic technique, and “Tygodnik Ilustrowany”. The transformation looking for characteristic features of individual dance of approach to this topic is perfectly illustrated also types. To his surprise, the studies revealed that these by changes in the style of dance iconography – as the relations, quite obvious on the surface, when confronted beginnings of Kolberg’s research activity coincided with the information provided by locals from various with the popularity of painters who preferred to depict areas of the region revealed the existence of numerous rather static poses from a greater distance and did not variants, contrary to his initial findings: take much care to reflect movement, such as Wincenty Smokowski, Michał Stachowicz, or representatives of the However, in the vicinity of Włocławek (as well as in many places Warsaw school, most of whom collaborated with Kolberg in Powiśle and toward Pałuki) it was just the opposite: they give the (Franciszek Kostrzewski, Wojciech Gerson, Władysław name of Kujawiak to a dance just after the Chodzony, and danced to the left [ksebka], […] while what they call an obertas, or a fast Bakałowicz, Henryk Pillati), whereas the end of Kolberg’s Mazur, is the dance directed to the right [odsibka], the third and the career fell on the period of deeper observation of rural quickest part here, in which both sexes hold each other by the waist dance choreography, and especially the movement itself with one hand, with the other hand free. This shows that the change and its individual variants, by painters from the Munich of direction is free (maybe in some way depending on the direction Group (e.g. Józef Chełmoński) or the Cracow “peasant of the Chodzony, which also, as dancers please, may be kseb or odsib, which does not impact so much on the name of the dance, as on the enthusiasts” (Włodzimierz Tetmajer, Wincenty Wodzinowski). method of dancing and the quickness of movements23. Kolberg’s research insights allowed him to also discover the functioning of certain dance suites in the dance Being thoroughly educated in music, Oskar Kolberg culture of the majority of Polish ethnographic regions, was not content with the hitherto typical (e.g. in the case defining the order of dances in traditional series. of the kujawiak) characterization of the melody as “wistful, What sets Kolberg apart from his predecessors is also the nice and charming” or “sad or wistful (though on the fact of not being satisfied with a survey of the emblematic faster side)”24. Describing dances instead as e.g. “faithful forms of national dances, but rather striving to describe to the general character of the music of Wielkopolska”25, as many types of dances as possible. Therefore, Kolberg he provides much more specific information, especially compiles, within the framework of his publishing on the tempi and rhythmic patterns: series, all types of information about traditional dance types, supplementing it with additional information from his field studies. Apart from dances deemed as national, he described dances of secondary 22 Ibidem, pp. 201–202. 23 Ibidem, pp. 204–205.

24 Ibidem, pp. 205–206. 26 Ibidem, pp. 204–206. 25 Ibidem, p. 206.

17 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

Region Suite name 1st dance 2nd dance 3rd dance Polski Do–przodka Wągrowiec Region1 Wolny Chodzony Ksebka ‘Eighteen’ Dokoła Ksebka Poznań Region2 --- Chodzony Wiatrak Odsibka Odsibka Pleszew and Polezon’a Na okrąż Ćwetryt (Zweitritt) Wiatrak Krotoszyn Regions3 Polizon’a Smykany (Zmykany) Smykanie Wiatrak Ostrów Region4 --- Mazur Neutr Obertas (Polonez) Chodzony Odsibka Ksebka Kuyavia5 Okrągły Polski Ocibka Mazur Łażony Kujawiak Obertas Wolny Mazur Obertas The Kielce Region6 --- Obchodny Drobny Krakowiak Polski The Lublin Region7 --- Polonaise --- Obertas

Table 1. Comparisons of regional names of dance suites including chodzony-type dances, with the names of dances in the cycle.

importance, such as dyna27, drabant28, kowal-kołodziej29, games (including ptashek, baran33, myshka34, zylman35, przodek, szot, wielki wiatrak and wiwat30. Moreover, fryzhovana chapka36) as an important element of teaching he beautifully characterized the dances from the eastern local dance culture and part of the shepherd culture. parts of the former 1st Polish Republic, especially Lithuania The documentation of Oskar Kolberg and his (kiepurele, žoliniélis, skuscinka, pasiutelis, tancus, dżygun)31 contemporaries, in contrast to the works focusing on the and Ukraine (Churilo dance, chabarashka, kolomyjka, Polish national dances, for quite a long time remained horodenka, vertak, choban, serpen, kozak, hajduk, volokh, outside the scope of mainstream research and publications arkan, Madzhar [Hungarian], shumka, zavierukha, about dance in Poland, despite the considerable increase khayduk, serban32). He also appreciated the importance of interest in regional cultures during the 1920s and of movement-based games and plays, including dance 1930s. That interest was facilitated in a way by German scholars defining choreology as a separate field of study in the 1920s, thus introducing systematic research into 27 Idem, (1964/1889). Łęczyckie, pp. VI–VIII; Idem, (1963/1886). the dance phenomena, especially in the works of Victor Mazowsze, part II, p. 298. Junk37 and Rudolf Laban38. Following the example 28 Idem, (1963/1886). Mazowsze, part II, pp. 297–298; Idem, of choreology, in the 1930s the field of ethnochoreology (1964/1890). Kaliskie [The Kalisz Region], Dzieła wszystkie [Complete Works], vol. 23. Wrocław-Poznań: IOK, p. 189. 33 Idem, (1963/1876). Wielkie Księstwo Poznańske [The Grand 29 Idem, (1962/1867). Kujawy, part II, pp. 207–208; Idem, Duchy of Poznań], part II, Dzieła wszystkie [Complete Works], (1964/1889). Łęczyckie, pp. 228, 236. vol. 10. Wrocław-Poznań: IOK, pp. 326–327. 30 Idem, (1963/1880). Wielkie Księstwo Poznańske, part V, pp. 34 Idem, (1974). Sanockie-Krośnieńskie, pp. 403–404. III–XIII; Idem, (1962/1867). Kujawy, part II, pp. 207, 212. 35 Idem, (1967). Kaliskie i Sieradzkie, p. 541. 31 Idem, (1966). Litwa [Lithuania], Dzieła wszystkie [Complete Idem, (1969). Mazowsze, part VII, pp. 604–606. Works], vol. 53. Wrocław-Poznań: IOK. 36 37 V. Junk, (1930). Handbuch des Tanzes. Stuttgart: E. Klett. 32 Idem, (1963/1888). Pokucie, part III, pp. 1–8; Idem, (1971). Ruś Karpacka, part II, pp. 413–416; Idem, (1994). Podole, 38 R. Laban, (1928). Schrifttanz: Methodik, Orthographie, p. 219; Idem, (1979). Ruś Czerwona, part II/2, pp. 1188–1190. Erläuterungen. Vienna: Universal Edition.

18 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

was developed, whose Polish representatives – Stanisław which were deemed as national by the middle and Głowacki, Cezaria Bauduoin de Courtenay upper classes. Apart from this, she also took up the Jędrzejewiczowa39 and Kazimierz Moszyński40 – were the topic of some regional dances from the regions which first to include examples from Kolberg in their works were ethnically Polish. However, the author ignored on the ritual dances, regional dances and characteristic historical dances, which – by the way – was a topic she dance behaviour types and forms. These works form was rather well versed in, as well as the issue of dances the foundation of Polish ethnochoreology to date, and from territories which fell outside the post-war borders without Kolberg’s contribution they would certainly of Poland. be incomplete or even impossible. The documentation of Oskar Kolberg was also Kolberg’s works increased in popularity after to become the point of departure for the 10th volume World War II. Marian Sobieski initiated a catalogue of Józef Gajek’s ethnographical atlas, entitled Tańce of dances which was compiled in the years 1957–1958 [Dances]43. Kolberg’s materials were used for the by Maria Drabecka on the basis of published material. preparation of provisional maps by Roderyk Lange44. This catalogue, based on names, included: the name However, changes in the editorial staff and other of function, the choreotechnical category, the musical obstacles led to the abandonment of works on the atlas, category, tempo and place of origin41. This database which was left unfinished. resulted in publications – entries in encyclopaedia Die It is surprising that the majority (but not all!) Musik in Geschichte und Gegenwart (MGG) devoted of monographs on regional dances, published between to Polish national dances, written by Marian Sobieski42, the 1960s and the 1990s45 were limited almost exclusively and excerpts from Polskie tańce ludowe w dziełach Oskara Kolberga [Polish Folk Dances in Oskar Kolberg’s 43 J. Gajek, (1959). Zadania i metody Polskiego Atlasu Works], edited by Maria Drabecka. The latter scholar – Etnograficznego [The Aims and Methodology of the Polish following closely in Kolberg’s footsteps – concentrated Ethnographic Atlas]. In: O. Kolberg, (1968). Góry i Podgórze on the dances which formed the basis for the those [The Region of Mountains], part I, Dzieła wszystkie [Complete Works], vol. 44. Wrocław-Poznań: IOK, p. 151; Lange, R. (1995). Taniec ludowy w pracach Muzeum Etnograficznego w Toruniu. Metoda pracy i kwestionariusz [Folk Dances in the C. Baudouin de Courtenay Ehrenkreutz Jędrzejewiczowa, 39 Activity of the Ethnographic Museum in Toruń]. Poznań: Instytut (1929). Ze studjów nad obrzędami weselnymi ludu polskiego, Choreologii, pp. 17–18. cz. 1, Forma dramatyczna obrzędowości weselnej [From the Studies on the Wedding Rituals of the Polish People, Part One. 44 R. Lange (1975). Tradycyjny taniec ludowy w Polsce i jego The Dramatic Form of Wedding Rituals]. Vilnius: Towarzystwo przeobrażenia w czasie i przestrzeni [Traditional Folk Dance Przyjaciół Nauk; Eadem, (1935). O tańcach ludowych w Polsce in Poland and Its Transformations in Time and Space]. London: [On Folk Dances in Poland], Teatr Ludowy. No. 8, pp.112–119. PUNO, illustr. 15. 40 Moszyński, K. (1968). Kultura ludowa Słowian. T. 2 cz. 2: 45 A. Glapa, A. Kowalski, (1961). Tańce i zabawy wielkopolskie Kultura duchowa [The Folk Culture of Slavs. Vol 2 Part 2: [Dances and Games in Wielkopolska] (with two kinetograms Spiritual Culture]. Warsaw: Książka i Wiedza, pp. 300–395. by R. Lange). Wrocław: Polskie Towarzystwo Ludoznawcze; G.Wł. Dąbrowska, (1967). Tańce Kurpiów Puszczy Zielonej O. Kolberg, (1963). Polskie tańce ludowe w dziełach Oskara 41 [Kurpie Dances in Zielona Forest]. Warsaw: Centralna Kolberga: wypisy, p. 3. Poradnia Amatorskiego Ruchu Artystycznego; J. Marcinkowa, 42 M. Sobieski, (1958). Krakowiak. In: Die Musik in Geschichte (1969). Folklor taneczny Beskidu Śląskiego [The Dance und Gegenwart: allgemeine Enzyklopädie der Musik, Friedrich Folklore of the Silesian Beskid Mountains]. Warsaw: Centralna Blume (Ed.), Band 7. Kassel-Basel-London-New York, columns Poradnia Amatorskiego Ruchu Artystycznego; J. Marcinkowa, 1705–1709; Idem, (1960). Mazur, Kujawiak. In: Die Musik K. Sobczyńska, (1973). Pieśni, taniec i obrzędy Górnego in Geschichte und Gegenwart, Band 8. Kassel-Basel-London- Śląska [Songs, Dances and Rituals from Upper Silesia]. New York 1960, columns 1856–1860; Idem, (1961). Oberek, Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kultury; obertas. In: Die Musik in Geschichte und Gegenwart, Band G.Wł. Dąbrowska, (1974). Folklor Mazowsza. Mazowsze 9. Kassel-Basel-London-New York, columns 1769–1771; nad Świdrem [Mazovian Folklore: On the Świder River]. M. Sobieski, F. Hoerburger, (1962). Polonez [The Polonaise]. Warsaw: Centralny Ośrodek Metodyki Upowszechniania In: Die Musik in Geschichte und Gegenwart, Band 10. Kultury; J.P. Dekowski, Z. Hauke, (1974). Folklor regionu Kassel-Basel-London-New York 1962, columns 1427–1431; opoczyńskiego [The Folklore of the Opoczno Region]. Warsaw: M. Sobieski, (1973). Polskie tańce [Polish Dances], L. Bielawski Centralny Ośrodek Metodyki Upowszechniania Kultury; (trans.). In: Sobieski, J.&M. (1973). Polska muzyka ludowa i jej L. Michalikowa, Z. Chrząstowska, S. Chrząstowski, (1974). problemy [Problems of Polish Folk Music]. L. Bielawski (Ed.). Folklor Lachów Sądeckich [The Folklore of the ‘Lachy’ Cracow: PWM, pp. 383–405. from the Nowy Sącz Region]. Warsaw: Centralny Ośrodek

19 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

to the results of field studies, in the majority of cases and meanings of individual dance-related phenomena totally ignoring the historical perspective, including in Poland difficult, although it certainly facilitates the Kolbergian documentation. In the last several the first contact with the traditional Polish dances decades, the only attempt to make extensive use of the in question. What is certain, however, is that Poland materials from the collection of Oskar Kolberg was the lacks publications which would present individual lexicon of Polish traditional country dances by Grażyna dance phenomena in a broad perspective of social and Władysława Dąbrowska46, who made considerable (though symbolic, but also geographical and temporal contexts. not complete) use of the accounts included in Lud and Unfortunately, the work of Dąbrowska, predominantly Obrazy etnograficzne [Ethnographic Pictures]. However organised in accordance with the names of dances, is the the use of dance name as the key for the lexicon’s only Polish ethnochoreological study using Kolberg’s organisation may raise doubts, as it ignores the structure documentation. of the choreographic techniques of the presented dance The materials left behind by Oskar Kolberg, especially types. In this context, one should note the remarks those from the last 25 years of his life, are a unique source, of Marian Sobieski who stated that: though obviously incomplete. They allow us to establish to a large extent the geographic range and perspective Classification of dances is made more difficult by the rural people on the changes of dance repertoire, both with regard themselves (as can be confirmed by any field collector), who use to choreographic technique and dance types, or a more different names for one and the same dance, so that the same dance melody in one village is called a kujawiak, in another – an oberek, detailed and critical perspective on the problems of folk in yet another even walcerek [little waltz], not to mention those terminology in dance phenomena. It may also serve as the really numerous names which depend on the circumstances point of departure for wider retrospective or comparative in which the dance is performed47. studies – which may not be very fashionable today, but which have never been adequately conducted in Poland. It should also be noted that one name frequently Unfortunately this brief review shows that to date – apart denotes many different dance phenomena. For this from a few, usually unfinished or unsatisfactory attempt reason, the lexicographic approach to documentation – these areas have not been explored, despite the scarcity and field materials makes the understanding of the role of the surviving field documentation and the constant references to Kolberg as one of the first researchers Metodyki Upowszechniania Kultury; W. Pawłowski, A. Cieślińska, of the choreographic technique of country dances in the H. Krużycka, (1975). Folklor Ziemi Lubuskiej [The Folklore territory of Poland. of the Lubusz Land]. Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kultury; M. Drabecka, (1978). Folklor Warmii i Mazur [The Folklore of Warmland and Masuria]. Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kultury; Sources M. Romowicz, (1978). Folklor Górali Żywieckich [The Folklore of the Żywiec Region Highlanders]. Warsaw: Centralny Ośrodek Brodziński, K. (1829). O tańcach polskich (polonez, Metodyki Upowszechniania Kultury; R. Lange, B. Krzyżaniak, A. Pawlak, (1979). Folklor Kujaw [The Folklore of Kujawy]. krakowiak, mazurek, kozak), Melitele. Vol. 1, pp. 93– Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kultury; 101. G.Wł. Dąbrowska, (1980). Taniec ludowy na Mazowszu [Folk Brodziński, K. (1820). Wiesław: sielanka krakowska. Dances in Mazovia]. Warsaw: Centralny Ośrodek Metodyki Warsaw: Nakład Gebethnera i Wolfa. Upowszechniania Kultury; J. Marcinkowa, K. Sobczyńska, Czerniawski, K. (1847). Charakterystyka tańców przez K. Byszewski, (1983). Folklor Zagłębia Dąbrowskiego [The Folklore of the Dąbrowa Górnicza Coalmining Region]. Warsaw: Karola Czerniawskiego. Warsaw: Drukarnia Stanisława Centralny Ośrodek Metodyki Upowszechniania Kultury. Strąbskiego. 46 G.Wł. Dąbrowska, (2005–2006). Taniec w polskiej tradycji: Czerniawski, K. (1860). O tańcach narodowych naszych Leksykon [Dance in Polish Tradition: A Lexicon]. Warsaw: Polskie z poglądem historycznym i estetycznym na tańce różnych Towarzystwo Etnograficzne. narodów, a w szczególności na tańce polskie. Warsaw: 47 J. M. Sobiescy, (1949). Pieśń ludowa i jej problemy XII. Drukarnia K. Kowalewskiego. Tańce ludowe [Folksong and Its Problems. XII. Folk Dances], Gołębiowski, Ł. (1830). Lud Polski, jego zwyczaje, zabobony. Poradnik Muzyczny. Vol. 23, No. 1, p. 3; J. M. Sobiescy, (1950). Warsaw: Gałęzkowski i S-ka. Instrukcja w sprawie zbierania polskiej pieśni i muzyki ludowej Gołębiowski, Ł. (1831). Gry i zabawy różnych stanów [An Instruction for Collectors of Polish Folksongs and Music], Muzyka. No. 2, pp. 36–37. w kraju całym, lub w niektórych tylko prowincyach. Warsaw: N. Glücksberg.

20 The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies

Kolberg, O. (1865). List otwarty. Do Redakcyi Kolberg, O. (1970). Śląsk, Dzieła wszystkie, vol. 43. Biblioteki Warszawskiéj, Biblioteka Warszawska. No. 1, Wrocław-Poznań: IOK. pp. 307–308. Kolberg, O. (1968). Góry i Podgórze, part I, Dzieła Kolberg, O. (1963). Polskie tańce ludowe w dziełach wszystkie, vol. 44. Wrocław-Poznań: IOK. Oskara Kolberga: wypisy. M. Drabecka (Ed.). Kolberg, O. (1968). Góry i Podgórze, part II, Dzieła Warsaw: Centralna Poradnia Amatorskiego Ruchu wszystkie, vol. 45. Wrocław-Poznań: IOK. Artystycznego. Kolberg, O. (1967). Kaliskie i Sieradzkie, Dzieła Wszystkie, Kolberg, O. (1961/1857). Pieśni ludu polskiego, Dzieła vol. 46. Wrocław-Poznań: IOK. Wszystkie, vol. 1. Wrocław–Poznań: IOK. Kolberg, O. (1994). Podole, Dzieła Wszystkie, vol. 47. Kolberg, O. (1962/1865). Sandomierskie, Dzieła Wrocław-Poznań: IOK. Wszystkie, vol. 2. Wrocław–Poznań: IOK. Kolberg, O. (1967). Tarnowskie-Rzeszowskie, Dzieła Kolberg, O. (1962/1867). Kujawy, part II, Dzieła Wszystkie, vol. 48. Wrocław-Poznań: IOK. Wszystkie, vol. 4. Wrocław–Poznań: IOK. Kolberg, O. (1974). Sanockie-krośnieńskie, part II, Dzieła Kolberg, O. (1963/1873). Krakowskie, part II, Dzieła Wszystkie, vol. 50. Wrocław-Poznań: IOK. wszystkie, vol. 6. Wrocław-Poznań: IOK. Kolberg, O. (1966). Litwa, Dzieła wszystkie, vol. 53. Kolberg, O. (1963/1876). Wielkie Księstwo Poznańske, Wrocław-Poznań: IOK. part II, Dzieła wszystkie, vol. 10. Wrocław-Poznań: Kolberg, O. (1971). Ruś Karpacka, part II, Dzieła IOK. Wszystkie, vol. 55. Wrocław-Poznań: IOK. Kolberg, O. (1963/1880). Wielkie Księstwo Poznańske, Kolberg, O. (1979). Ruś Czerwona, part II/2, Dzieła part V, Dzieła wszystkie, vol. 13. Wrocław-Poznań: Wszystkie, vol. 57/2. Wrocław-Poznań: IOK. IOK. Kolberg, O. (1962/1884). Lubelskie, part II, Dzieła wszystkie, vol. 17. Wrocław-Poznań: IOK. References Kolberg, O. (1963/1885). Kieleckie, part I, Dzieła wszystkie, vol. 18. Wrocław-Poznań: IOK. Baudouin de Courtenay Ehrenkreutz Jędrzejewiczowa, Kolberg, O. (1963/1886). Kieleckie, part II, Dzieła C. (1929). Ze studjów nad obrzędami weselnymi ludu wszystkie, vol. 19. Wrocław-Poznań: IOK. polskiego, cz. 1, Forma dramatyczna obrzędowości Kolberg, O. (1964/1887). Radomskie, part I, Dzieła weselnej. Vilnius: Towarzystwo Przyjaciół Nauk. wszystkie, vol. 20. Wrocław-Poznań: IOK. Baudouin de Courtenay Ehrenkreutz Jędrzejewiczowa, Kolberg, O. (1964/1888). Radomskie, part II, Dzieła C. (1935). O tańcach ludowych w Polsce, Teatr Ludowy. wszystkie, vol. 21. Wrocław-Poznań: IOK. No. 8, pp.112–119. Kolberg, O. (1964/1889). Łęczyckie, Dzieła wszystkie, Dąbrowska, G.Wł. (1967). Tańce Kurpiów Puszczy vol. 22. Wrocław-Poznań: IOK. Zielonej. Warsaw: Centralna Poradnia Amatorskiego Kolberg, O. (1964/1890). Kaliskie, Dzieła wszystkie, Ruchu Artystycznego. vol. 23. Wrocław-Poznań: IOK. Dąbrowska, G.Wł. (1974). Folklor Mazowsza. Mazowsze Kolberg, O. (1963/1886). Mazowsze, part II, Dzieła nad Świdrem. Warsaw: Centralny Ośrodek Metodyki wszystkie, vol. 25. Wrocław-Poznań: IOK. Upowszechniania Kultury. Kolberg, O. (1963/1887). Mazowsze, part III, Dzieła Dąbrowska, G.Wł. (1980). Taniec ludowy na Mazowszu. wszystkie, vol. 26. Wrocław-Poznań: IOK. Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kolberg, O. (1963/1888). Pokucie, part III, Dzieła Kultury. wszystkie, vol. 31. Wrocław–Poznań: IOK. Dąbrowska, G.Wł. (2005–2006). Taniec w polskiej Kolberg, O. (1964/1891). Przemyskie, Dzieła wszystkie, tradycji: Leksykon. Warsaw: Polskie Towarzystwo vol. 35. Wrocław-Poznań: IOK. Etnograficzne. Kolberg, O. (1965). Pomorze, Dzieła wszystkie, vol. 39. Dekowski, J.P., Hauke, Z. (1974). Folklor regionu Wrocław-Poznań: IOK. opoczyńskiego. Warsaw: Centralny Ośrodek Metodyki Kolberg, O. (1969). Mazowsze, part VI, Dzieła wszystkie, Upowszechniania Kultury. vol. 41. Wrocław-Poznań: IOK. Drabecka, M. (1978). Folklor Warmii i Mazur. Warsaw: Kolberg, O. (1969). Mazowsze, part VII, Dzieła wszystkie, Centralny Ośrodek Metodyki Upowszechniania vol. 42. Wrocław-Poznań: IOK. Kultury.

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Glapa, A., Kowalski, A. (1961). Tańce i zabawy Sobiescy, J. i M. (1950). Instrukcja w sprawie zbierania wielkopolskie. Wrocław: Polskie Towarzystwo polskiej pieśni i muzyki ludowej, Muzyka. No. 2, Ludoznawcze. pp. 36–37. Junk, V. (1930). Handbuch des Tanzes. Stuttgart: E. Klett. Sobieski, M. (1958). Krakowiak. In: Die Musik Laban, R. (1928). Schrifttanz: Methodik, Orthographie, in Geschichte und Gegenwart: allgemeine Enzyklopädie Erläuterungen. Vienna: Universal Edition. der Musik, Friedrich Blume (Ed.), Band 7. Kassel- Lange, R. (1975). Tradycyjny taniec ludowy w Polsce i jego Basel-London-New York, columns 1705–1709. przeobrażenia w czasie i przestrzeni. London: PUNO. Sobieski, M. (1960). Mazur i kujawiak. In: Die Musik Lange, R., Krzyżaniak, B., Pawlak, A. (1979). Folklor in Geschichte und und Gegenwart: allgemeine Kujaw. Warsaw: Centralny Ośrodek Metodyki Enzyklopädie der Musik, Friedrich Blume (Ed.), Band Upowszechniania Kultury. 8. Kassel-Basel-London-New York 1960, columns Lange, R. (1995). Taniec ludowy w pracach 1856–1860. Muzeum Etnograficznego wT oruniu. Metoda pracy Sobieski, M. (1961). Oberek, obertas. In: Die Musik i kwestionariusz. Poznań: Instytut Choreologii. in Geschichte und und Gegenwart: allgemeine Londzin, J. (1930). Poezja ludowa, Zaranie Śląskie. Enzyklopädie der Musik, Friedrich Blume (Ed.), Band 9. No. 4, pp. 169-170. Kassel-Basel-London-New York, columns 1769–1771. Marcinkowa, J. (1969). Folklor taneczny Beskidu Śląskiego. Sobieski, M., Hoerburger, F. (1962). Polonez. In: Die Warsaw: Centralna Poradnia Amatorskiego Ruchu Musik in Geschichte und und Gegenwart: allgemeine Artystycznego. Enzyklopädie der Musik, Friedrich Blume (Ed.), Band Marcinkowa, J., Sobczyńska, K. (1973). Pieśni, taniec 10. Kassel-Basel-London-New York 1962, columns i obrzędy Górnego Śląska. Warsaw: Centralny Ośrodek 1427–1431. Metodyki Upowszechniania Kultury. Sobieski, M. (1973). Polskie tańce [L. Bielawski trans.]. Marcinkowa, J., Sobczyńska, K., Byszewski, K. (1983). In: J.&M. Sobieski, (1973). Polska muzyka ludowa Folklor Zagłębia Dąbrowskiego. Warsaw: Centralny i jej problemy. L. Bielawski (Ed.). Cracow: Państwowe Ośrodek Metodyki Upowszechniania Kultury. Wydawnictwo Muzyczne, pp. 383–405. Michalikowa, L., Chrząstowska, Z., Chrząstowski, St. (1974). Folklor Lachów Sądeckich. Warsaw: Centralny Ośrodek Metodyki Upowszechniania Kultury. Moszyński, K. (1968). Kultura ludowa Słowian. T. 2 cz. 2: Tomasz Nowak – Ph.D., studied musicology at the University Kultura. Warsaw: Książka i Wiedza. of Warsaw (1993–1997) where he then took up doctoral studies Pawłowski, W., Cieślińska, A., Krużycka, H. (1975). (1997–2002). He also studied theory of dance at the Fryderyk Chopin Academy of Music, Warsaw (2003–2005). Assistant Professor at the Folklor Ziemi Lubuskiej. Warsaw: Centralny Ośrodek Institute of Musicology, University of Warsaw. Fieldwork in Central Metodyki Upowszechniania Kultury. and Eastern Europe (Poland, Lithuania, Belorussia, Ukraine, Germany) Pośpiech, J. (1977). Tradycje folklorystyczne na Śląsku and Indonesia (Bali). He has published a monograph on Tradycje w XIX I XX wieku (do roku 1939). Warsaw-Wrocław: muzyczne społeczności polskiej na Wileńszczyźnie. Opinie i zachowania Musical Traditions of the Polish Society in the Vilnius Region. Opinions Państwowe Wydawnictwo Naukowe. [ and Behavior] (Warsaw 2005) – as well as 30 articles, mainly on: Prosnak, J. (1955). Kultura muzyczna Warszawy XVIII musical traditions of the Polish minorities along the eastern borders wieku. Cracow: Polskie Wydawnictwo Muzyczne. of Poland, changes of musical traditions in the Polish Tatra mountains, Romowicz, M. (1978). Folklor Górali Żywieckich. Warsaw: contemporary musical culture of Balinesians and Upper Lusatians, Centralny Ośrodek Metodyki Upowszechniania historical sources for Polish folk music and dance. Kultury. Sobiescy, J. i M. (1949). Pieśń ludowa i jej problemy XII. Tańce ludowe, Poradnik Muzyczny. Vol. 23, No. 1, pp. 3–6.

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