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M. Bojlund & Jidder

M. Pomianowska

Maria Bojlund & Jidder / Maria Pomianowska (Sweden/Poland)

(19.07.2013, 8:00 PM, Magazyn Kultury | Kolanko No 7 - the concert of masters and adepts)

(WORKSHOPS: Mazurka's rhythms in Polish and Swedish: 18.07.2013, 3:00-4:30 PM and 19.07.2013, 3:00-4:30 PM, Magazyn Kultury | Kolanko No. 7)


Maria Bojlund (Sweden) - violinist, nyckelharpist and singer, living in Malmo. She performs traditional Swedish music, specializing in the music of southern and mid-western parts of Sweden. She co-creates the Swedish bands Jidder and Mary and the Saints, and in addition to traditional music of her country, she also deals with Irish music, playing in the O'Malley's Alley band. Together with Markus Tullberg, she co-creates a project combining traditions from "Green Island" and Sweden.


Jidder (Sweden) - the band has been operating since 2007, implementing projects inspired by traditional music of the southern regions of Sweden. The group's repertoire is a contemporary, original interpretation of the musical themes of southern and mid-western Sweden.


Maria Pomianowska (Poland) - composer, singer, instrumentalist, teacher. Her interests are characterized by an extraordinary openness to various forms and musical systems. She conducts studies on unique techniques of playing musical instruments from Asia; she travels to India, China, Korea, Japan and the Middle East. She performs with the Raga Sangit ensemble, in which, as a soloist, she presents to the Polish audience the basic forms and musical instruments of great Asian cultures. She has realized a series of several hundred lectures, shows and recitals related to classical music of India and the Middle East. Initiator and co-organizer of many projects with the participation of many great artists of Indian and Arab music (prof. Farhan Sabbah, Pandit Ram Narayan, Pandit Ravi Shankar). Founder and artistic director of the Zespół Polski [Polish Band], which guiding principle is, among others referring to the old tradition of the so-called knee instruments (e.g. Biłgoraj suka, Płock fiddle) and with which she has performed in many European countries, but also in Taiwan and Japan, where she lived and carried out artistic activity in 1997-2002. For years, the artist has been giving lectures and music workshops in Poland and abroad, teaching and promoting young bands and musicians. In her musical journey, she crosses barriers and breaks well-worn stereotypes, doing so with respect for the distinctiveness of each musical tradition she learns and presents. She collaborates with many artists in Poland and abroad. She appears in television and radio programs. She has a lively concert activity while traveling all over the world, she is also the artistic director of the Warsaw world music festival "Skrzyżowanie Kultur" ["The Crossing of Cultures"]. In 2011, at the Academy of Music in Krakow, she created and started running her own new field of study at the Instrumental Department: "Knee fiddles". It is the beginning of the creation of the first department of folk and ethnic music at the Academy of Music in Poland.


Band members:

Maria Bojlund – violin, vocals

Markus Tullberg – wooden flute, bouzouki

Gabriel Hermansson – bouzouki

Maria Pomianowska – Biłgoraj suka, Płock fiddle

and the participants of the workshops!


The idea of the workshops is to show the community of Polish rhythms: mazurka, kujawiak, polonaise on both sides of the Baltic Sea. This community, so far not fully researched from the scientific point of view, concerns the oldest layer of the traditional repertoire in all Scandinavian countries (Denmark, Norway, Sweden, Finland), as well as Poland. Interestingly, the polonaise and mazurka entered the heritage of European music and intertwined in a significant way with the tradition of folk dances. Sweden played a major role in bringing "Polish dances" to Scandinavia. Already in the times of Gustaw Waza (1523-60) Polish musicians were employed at the Swedish court. The two-part Polish dances of the end of the 16th and the whole 17th century, known as "Polnische Tanze" or "chorea polonica", had played and continue to play an extremely important role in the musical tradition of Sweden under the name "polska", that even constitutes the idiom of traditional music. What indicates the Polish origin of this music? The workshop will be an attempt to show the common roots of both Swedish and Polish musical traditions. Participants will learn old Polish dances, which may be the prototypes of Scandinavian "polska" dances. They will learn about the process of musical assimilation of "chorea polonica" in Scandinavia, what is the structure and character of Polish prototypes and their Swedish versions, both ancient and modern. You will be able to learn to play both "chorea polonica" and original "polska".

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