September with Master and Apprentice
The musical and dance heritage of the Poznań region is one of the most valuable elements of Greater Poland’s culture. Traditional dances and customs, which for centuries have accompanied the region’s inhabitants at work, at play, and at milestones, are today not only a testament to ancient rituals but also a source of inspiration and pride. The latest workshops, part of the “Save from Oblivion…” project of the National Institute of Rural Culture and Heritage’s “Master – Apprentice” scholarship program, dedicated to the ritual dances and polkas of the Poznań region’s former lands, demonstrated that folklore, although rooted in the past, can still be alive and relevant to contemporary participants.
Ritual dances were not simply a form of entertainment. Their function extended far beyond mere dance entertainment – they served as a ritual, a symbolic gesture, and a tool for community integration. Each dance had its own meaning, linked to the life cycle of an individual or the annual rhythm of the community. Piotr Kulka, the „Master” of the project and workshop leader, emphasized this very role, demonstrating that dance in Poznań tradition was a language used to express joy, gratitude, and sometimes also worries and expectations.
A special place during the September workshops was occupied by the capping dances, accompanying the bride’s transition from maidenhood to marriage. The focal point of this ritual was the hop dance, characterized by a calm rhythm and candlelight, characteristic of the Poznań Bambers, in which the motif of hops – a symbol of strength, fertility, and joy – often appeared in the song.
Another group were the dances during „Podkoziołek”, performed during Shrove Tuesday, the eve of Lent. The name came from a wooden figurine of a goat, placed on a table or barrel during the feast, under which the brides had to leave offerings in order to dance with their chosen one. These dances were full of humor, liveliness, and flirtatious chants – a symbolic “last opportunity” for free fun before the period of sacrifice. The workshops also featured the Shrovetide dances that marked the end of the Carnival season. They were dynamic and expressive, and their purpose was to dance and “sound off” before Lent.
The harvest dances, shown to Filip Laskowski, the „Apprentice” in the project, had a completely different character – they served as a thanksgiving ritual after the completion of fieldwork. The rhythms of these dances echoed the joy of a bountiful harvest, but also respect for the hardships of agricultural work.
There were also many other dances associated with the annual cycle and daily life in the Poznań region. Many of them had a communal character, often bringing participants closer together and uniting the local community. During the workshops, it was emphasized that these dances were not merely entertainment, but part of a larger whole – rituals that carried profound meaning.
An integral part of the workshops was also a recollection of the annual customs characteristic of the Poznań region. They were an integral part of rural community life, introducing a rhythm consistent with the cycle of nature and the liturgical calendar. These customs include:
– walking the masks – a colorful tradition involving dressing up in fanciful costumes, often animal or grotesque. Processions of the masks visited farms, performed skits, and wished for prosperity, receiving refreshments in return.
– plucking feathers – a custom combining work with socializing. Women gathered to pluck feathers together, singing, telling stories, and dancing to the accompaniment of music.
– dyngus – dousing each other with water on Easter Monday, a symbol of purification, health, and fertility.
– gaik – a spring ritual in which girls carried a green branch decorated with ribbons. This symbolized the rebirth of nature and the joy of the arrival of spring. Each of these customs served a specific function – it brought the community together, expressed hope for good harvests and good health, and provided an opportunity for communal singing and dancing.
Polkas, which gained immense popularity throughout Greater Poland in the 19th century, held a special place during the workshops. Although their origins lie in the Czech Republic, in the Poznań region, polkas quickly took on a local character. They were characterized by a lively tempo, simple yet dynamic steps, and tremendous energy, making them a favorite dance at weddings, parties, and harvest festivals. Polkas danced in the former Poznań region differed in tempo and style from other Polish regions. They were danced calmly, flatly, with dignity, yet sometimes playfully. However, a common element was their integrative role – the polka attracted all generations, regardless of age or social status.
The September workshops devoted to ceremonial dances and polkas were not limited to simply learning the steps. Under the guidance of a master, the student had the opportunity to learn the historical and symbolic context of the dances, as well as experience for themselves how dancing together builds bonds and brings a sense of joy. Practical classes were conducted in an atmosphere of openness and community – exactly as it was in old village rooms or squares.
Piotr Kulka
We invite you to see photos from the implementation of the fifth stage of the project, as well as a short video summarizing the fifth month of work of the Master and the Apprentice:
The project “Save from Oblivion – the Dance Culture of the Old Villages of Poznań” is a project of the “Master-Apprentice” scholarship program of the National Institute of Rural Culture and Heritage, funded by the Minister of Agriculture and Rural Development.
