2024

   Tradition of the National Intangible Cultural Heritage Inventory 

** UNESCO intangible cultural heritage tradition 

27 JUNE, THURSDAY 

CENTRE OF ETHNIC CULTURE, ART YARD (Daržų St 10) 
*  10.00–17.00 Exhibition. Delmonai of Lithuania Minor 
**  10.00–17.00 Exhibition. Tradition of straw gardens (by Margarita Macijauskienė) 
 *  10.00–17.00 Exhibition. Antanas Butkus collection of musical instruments. The tradition of instrumental music in Lithuania Minor
Open on all festival days. 
*  17.00–18.30 Open workshop. Tradition of straw gardens 

CLOCK AND WATCH MUSEUM COURTYARD (Liepų St 12) 
** 19.00 Sutartinės Garden. Ratilio (Vilnius), Sasutalas (Kaunas), Čiulbutė (Ignalina), Saulala (Biržai), Rags and Lygė (Pasvalys), Alsūnė (Molėtai), Pyniava (Ukmergė) 

SMALL STAGE, ART YARD (Daržų St 10) 
** 22.00 Beat Bitela – a project of sutartinės, beatbox and electronic music. Electronic and beatbox music maker GON and group of Ratilio sutartinės singers (Vilnius) 

DANĖ SQUARE BY THE ARKA MONUMENT 
** Installation Luminous Gardens (by Morta Pilkė, Anykščiai). Displayed on all festival days.

28 JUNE, FRIDAY 

DANĖ SQUARE BY THE ARKA MONUMENT
10.00–22.00 Craft town 
* 12.00–19.30 Intangible cultural heritage of Lithuania and Latvia. Craft demonstrations 
** 12.00–19.30 Virtual presentation of tradition. Lithuanian song and dance celebrations 
** 12.00–14.00 Open workshop. Petrykivka decorative painting as a phenomenon of the Ukrainian ornamental folk art 
* 14.30–16.30 Open workshop. Tradition of straw gardens 
** 17.00–19.00 Open workshop. Delmonai of Lithuania Minor 

BLACKSMITH'S MUSEUM (Šaltkalvių St 2) 
** 16.00–18.00 Craft demonstration. Cross-crafting and its symbolism in Lithuania 

MAIN STAGE, DANĖ SQUARE (Danės St 25) 
Intangible cultural heritage of Lithuania and Latvia 
* 16.00 Presentation and tasting. The practices of reviving kafija drinking culture in Lithuania Minor. Revival of the Lietuvininkai (šišioniškiai) dialect. Šilutė Hugo Scheu Museum
* 16.30 Concert. The singing tradition of Lietuvininkai. Folklore ensembles of Klaipėda Centre of Ethnic Culture Kuršių Ainiai, Alka, Kuršiukai, Alkiukai 
* 17.00 Concert. Singing above the voice (pusbolss). Folklore group Upīte (Latvia) 
* 17.30 Concert. Playing melodic and chord zithers. Traditional music group Skaņumājas Muzikanti (Latvia) 

Intangible cultural heritage protected by UNESCO 
** 19.00 Concert. Kaustinen fiddle playing and related practices and expressions. Folk dance and music group Ottoset (Finland)
** 20.00 Concert. Polonaise, traditional Polish dance. Folk dance ensemble Poligrodzianie of Poznan University of Technology (Poland)
** 21.00 Concert. Fado, urban popular song. Ideal de Fado (Portugal)
22.00 Traditional night dance 

29 JUNE, SATURDAY 

DANĖ SQUARE BY THE ARKA MONUMENT 
10.00–22.00 Craft town 
* 12.00–19.30 Intangible cultural heritage of Lithuania and Latvia. Craft demonstrations 
** 12.00–19.00 Virtual presentation of tradition. Lithuanian song and dance celebrations 
** 12.00–14.00 Open workshop. Petrykivka decorative painting as a phenomenon of the Ukrainian ornamental folk art 
* 14.30–16.30 Open workshop. Tradition of straw gardens 
** 17.00–19.00 Open workshop. Delmonai of Lithuania Minor 

BLACKSMITH'S MUSEUM (Šaltkalvių St 2) 
** 15.00–17.00 Craft demonstration. Cross-crafting and its symbolism 
MAIN STAGE, DANĖ SQUARE (Danės St 25) 
** 15.00 Performance. Puppetry in Czechia. Divadlo Spejbla a Hurvínka (Czech Republic) 

Intangible cultural heritage of Lithuania and Latvia 
* 16.00 Concert. Kalvarija region singing tradition in Brukai village. Kalvarija Culture Centre folklore ensemble Bruknyčia 
* 16.30 Presentation. The tradition of making the white horse (šyvis) jump in Gražiškiai. Gražiškiai village community 
* 17.00 Concert. Playing the Ieviņš type harmonica. Playing the Latgale bubyns frame drum. Traditional music group Skaņumājas Muzikanti (Latvia) 
* 17.30 Concert. Instrumental music in Lithuania Minor. Folklore ensembles of Klaipėda Centre of Ethnic Culture Kuršių Ainiai, Alka, Kuršiukai, Alkiukai

Intangible cultural heritage protected by UNESCO 
** 19.00 Concert. Georgian polyphonic singing. Polyphonic singing and folklore group Pherkhisa (Georgia)
** 20.00 Concert. Gnawa tradition. Omar Hayat and band (Morocco) 
** 21.00 Concert. Mariachi music tradition. Mariachi El Mexicano (Mexico)
22.00 Traditional night dance 

30 JUNE, SUNDAY 

SMALL STAGE, ART YARD (Daržų St 10)
** 11.00 Performance. Puppetry in Czechia. Divadlo Spejbla a Hurvínka (Czech Republic) 

PUPPET THEATRE COURTYARD (Vežėjų St 2)
11.30–13.00 Lauksnos Harbour workshop 
Marine knot workshop From Knot to Rigging 
Education about weathervanes On Weathervane Roads around the Lagoon 
Lighthouse figurine and wooden boat decoration workshop 

---------------------------------------------------------------------------------------------------------------- 
Intangible cultural heritage of Lithuania and Latvia. Craft demonstrations: ** Cross-crafting and its symbolism in Lithuania, ** Tradition of straw gardens, * Bobbin lace making, * Amber hunting on the coast of Lithuania, * The tradition of shingle roofing, * Delmonas of Lithuania Minor, * The tradition of making woven sashes, * The tradition of stone carving in Kelmė, The tradition of net knitting, Macramé tradition 

ALL EVENTS ARE FREE 
In case of bad weather, slight changes to the programme are possible

Kaustinen fiddle playing and related practices and expressions
Inscribed in 2021 on the Representative List of the Intangible Cultural Heritage of Humanity

Kaustinen folk music is a Finnish tradition where the fiddle (violin), although not the only instrument, is the main melodic instrument. It is in fact the violin (with or without other instruments) that cadences the dances or the songs. Based on playing by ear, it is characterized by syncopated and accented rhythms that are easy for people to dance to. The distinctive style and playing technique of Kaustinen folk music have existed for over 250 years, and there is a repertoire of several hundred tunes from the area. Kaustinen folk music is played in many contexts: in private, in organized groups, during public celebrations and ceremonies (including wedding parties), at concerts and public jam sessions, and at the annual Kaustinen Folk Music Festival. Performers often wear traditional costumes. Most inhabitants of Kaustinen and neighbouring communities consider this music an essential aspect of their personal and community identity, even if they are not practitioners themselves. It is felt to represent a sense of belonging and viewed as a means of strengthening cross-generational ties. The significance of the practice is evident in the names of public spaces and in symbols such as the presence of the fiddle in the Kaustinen coat of arms.

Short information about group
Kaustinen Youth Association - Folk dance and folk music group Ottoset

Ottoset comes from Finland, Kaustinen. The group was founded in 1985. Ottoset's roots go even further back in the Kaustinen folk dance and folk music tradition. At first, there were two children's folk dance groups when Kaustinen Youth Association started the children's groups. At the moment, there are ten different dance groups in Ottoset and almost two hundred dancers and musicians from three-year-olds to young adults.

Nowadays, the most important mission is to provide conditions for children, youngsters and adults

activities such as folk dance and folk music as meaningful and educational hobby.

One of the most important goals of Ottoset's folk dance activities is to keep the local intangible cultural heritage alive. Ottoset respect and value their own local intangible cultural heritage, the Kaustinen violin playing tradition and the Kaustinen folk dance tradition. Kaustinen's Youth Association and Ottoset do significant work to keep cultural heritage alive.

Ottoset, who will perform in Klaipėda, train with a goal in mind. The dancers are young adults, who started as folk dancers at the age of three or four. They want to develop as dancers and as a group. Their repertoire includes traditional Finnish folk dances and new choreographies that are influenced by Finnish and Kaustinen traditions. There are 16 dancers in the group and six musicians in the music group. A group of 17 performers will go to Klaipėda. Because we are from Kaustinen, naturally, some of our dancers also know how to play the violin, so it may be that they will also bring their violins and sometimes join the music group.

The group's artistic director and choreographer is Miia Timonen.

Miia Timonen was chosen as folk dance director of the year in Finland in 2022.

The tradition of instrumental music in Lithuania Minor inscribed on the Intangible Cultural Heritage Inventory in 2022.
Written sources testify that in the territory of Lithuania Minor self-made and purchased instruments have been used since the 16th century. Prussian Lithuanians used kanklės, trumpets, hornpipes (birbynės), drums, whistles, fiddles, jaw harps, and later cymbals, zithers, psalteries, and other string, woodwind and brass instruments to play at community and family ceremonies and parties, to play songs tunes and dances, and to accompany religious hymns. Undergoing transformations, this music-making tradition of Prussian Lithuanians lasted until the middle of the 20th century. After World War II, the settlers who moved to Klaipėda region brought with them their own musical traditions, and as the local population declined, the old repertoire and style of playing were almost forgotten.
The tradition of music-making in Lithuania Minor began to be revived in the 1970s-1980s, when Antanas Butkus, a researcher and maker of historical musical instruments, reconstructed the musical instruments of Lithuania Minor, such as kanklės-harp, psalterium, horn-trumpet, whistle, etc. Other masters followed in his footsteps, and soon folklore ensembles of Klaipėda city and district, Šilutė district, Neringa municipality, as well as folklore ensembles from other regions of Lithuania began to play musical instruments of authentic design. Based on scientific research, written sources and ethnographic material, as well as through experimentation, the ensembles have been recreating and developing the tradition of music-making of Lithuania Minor for more than three decades. Musical instruments are used to accompany songs and Gospel hymns, and tunes of songs, dances, and circle dances are played from German publications from East Prussia and from the notes of the 20th-century expeditions in Klaipėda region. The manner of playing of soloists and groups is quite individual – the character is dictated by the harmony of the melody, the metrical structure and the context of the performance.
The basis for the restoration and preservation of the music-making tradition, which has become a sign of the cultural continuity of the ethnographic region of Lithuania Minor, is historical knowledge, the reconstruction of musical instruments, various experiences of traditional music-making and creativity. Thanks to professional ensemble leaders and musicians, original compositions are also created, played together with classical, jazz and electronic music performers.

During the International Intangible Cultural Heritage Festival "Lauksnos," the instrumental music of Lithuania Minor will be presented by the children's and youth folklore ensembles "Alkiukai" and "Kuršiukai" from the Klaipėda Ethnocultural Center, as well as the adult folklore groups "Alka" and "Kuršių ainiai." The leaders of the folklore groups are Jolita Vozgirdienė, Alvydas Vozgirdas, Jonas Kavaliauskas, Elena Šalkauskienė, Ingrida Žmijauskienė, and Gabija Kochanskaitė.

Georgian polyphonic singing

Inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2001)

Popular singing has a highly valued place in Georgian culture. Polyphonic singing, in the Georgian language, is a secular tradition in a country whose language and culture have often been oppressed by invaders. There are three types of polyphony in Georgia: complex polyphony, which is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti region in Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a “cockerel’s crow”, performed by a male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated the Georgian polyphonic tradition to such an extent that they became a significant expression of it.

Having previously suffered the drawbacks of socialist cultural policies, traditional Georgian music is now threatened by rural exodus as well as by the increasing success of pop music. In many archives one finds recordings of polyphonic songs from the beginning of the twentieth century; these recordings are, however, not secure enough to guarantee the long-term preservation.

Folk group "Pherkhisa" was created in 2008 under the direction of choirmaster Natia Datuashvili. Several generations have already been raised in the ensemble. The creative direction of the ensemble is adherence to traditional performance, its style, and its forms. "Pherkhisa’s" repertoire includes examples of folk songs and traditional hymns from different parts of Georgia. Along with musical pieces, the group also performs traditional dance samples. Since the day of its inception, the ensemble has actively participated in the cultural life of the country, in local and international festivals, conferences and symposia, various religious holidays, and charity concerts, and is a prize winner in many competitions. Participation of the ensemble in the opening concert of the 5th International Symposium of Traditional Polyphony in 2010 is worth mentioning. The ensemble is the winner and gold medallist of the 2015, 2017, 2022, 2023 national competitions of children’s and youth choirs of Georgia. "Pherkhisa" held successful tours in Poland (2016, 2019, 2022) and Germany (2019).

Kalvarija region singing tradition in Brukai village inscribed on the Lithuanian National Intangible Cultural Heritage Inventory in 2022. 

Kalvarija region songs, characterised by a variety of musical, rhythmic, poetic and expressive means, reveal the uniqueness of the musical dialect of the region of Suvalkija (Sūduva). The old tradition of ceremonial singing in the voices of presenters born in the 19th century can be heard in recordings from the interwar period, and the repertoire that has been preserved to this day is fostered by the women living in the villages of Brukai and Sūsninkai. Brukai folklore ensemble Bruknyčia, whose origins date back to 1976, safeguards and continues the singing tradition of Kalvarija region. This tradition has been taken over by the folklore groups of Kalvarija and Marijampolė municipalities directly from presenters, publications or recordings. 

The tradition will be presented by the folklore ensemble Bruknyčia of the Kalvarija Municipality Culture Centre. Since its foundation in 1987, the ensemble has been led by Romualda Vasikonienė. The group actively participates in various folklore and song festivals. In 2023, Bruknyčia took part in the contest of songs recorded by Jaunius Vylius, won the first place and received a cash prize. 

In 2022, the element Kalvarija region singing tradition in Brukai village was inscribed on the Intangible Cultural Heritage Inventory. Bruknyčia was ceremoniously awarded a certificate of the element. In order to preserve and foster this element, Kalvarija Municipality Culture Centre has been implementing the project Signs of Ethno-cultural Identity of Kalvarija Region for two years. Lectures, Bruknyčia song lessons, Ant Tėvelio Dvaro folklore festival have been organised, the element has been presented several times in Kalvarija, Zapyškis event Etnolobyno Duris Pravėrus. The book Žydi Klesti Bijūnėlis. Kalvarijos Krašto Dainos, Žaidimai, Rateliai, Šokiai and the CD Kai Aš Augau Pas Močiutę were published. The book and CD include songs and stories from Bruknyčia. 

The ensemble has prepared programmes such as Kraičio Skrynia, Augino Močiutė, Leliumai, linen works programme, Iš Pasakorės Lūpų, Ralio Karvutės, Pas Bernelį Aidama, The Story of the Exile of Brukai Singer Albina Matulevicienė, and others. 

Half-voice singing (pusbolls) inscribed on the Latvian National Inventory of Intangible Cultural Heritage in 2017.

Half-voice singing (dzīduošona ar pusbolsu) is a specific type of polyphonic singing traditionally associated with the Northern Latgale parishes bordering Russia – Šķilbēni, Baltinava, Briežuciems and Viļaka, namely the former territory of Abrene county (now Russia).

It is a three-part singing where the melody is performed with one or two lower accompanying voices and one upper accompanying voice, which is the most important feature of such singing. The upper accompanying voice is sung very loudly, exclusively as a solo, usually in the second half of the verse, and in a particular way, which is also often referred to as shouting (kliegšana). This kind of singing was practised outdoors – in the fields or in the courtyard – so it must be loud for the neighbours to hear. The old singers explain that to sing correctly in pusbolls, the voice should be “raised above the others”. Not every singer could sing this part. They had to have a very strong and loud voice to be able to sing in pusbolls.

Half-voice singing is one of the signs of identity of traditional singing in Northern Latgale, and nowadays it is mainly inherited through singing in ethnographic ensembles and folklore groups. However, there are also cases where younger and middle generation singers from local communities try to learn and practise this skill individually.

On June 28th, during the "Lauksnos" festival, the tradition of singing half-voice singing will be presented by the folklore ensemble "Upīte" which was founded in 2002 based on a children's folklore group It is the most active folklore group in Northern Latgale, fostering and promoting the culture, dances, games and songs of Northern Latgale and Upīte. Upīte ensemble promotes singing with pusbolls, which is inscribed on the Inventory of Intangible Cultural Heritage. The group is proud of the beautiful white Abrene women's national costumes. It regularly participates in various international festivals in Lithuania, Estonia, Belarus, Poland, Czech Republic, Slovakia, France, Portugal, Italy, Sardinia, and Romania.

Folklore ensemble leader – Andris Slišāns.

Gnawa (Gnaoua) inscribed in 2019 on the Representative List of the Intangible Cultural Heritage of Humanity.

Gnawa is a musical tradition derived from the Gnawa ethnic group, which was brought to Morocco from sub-Saharan Africa around the 11th century. Gnawa is a fascinating story of how people from different cultures created their own identities when the continuity of their own culture broke down.

Gnawa refers to a set of musical events, performances, fraternal practices and therapeutic rituals mixing the secular with the sacred. Gnawa culture is now considered as part of Morocco’s multifaceted culture and

identity. Small performances and huge gnawa music festivals attracting thousands of spectators take place in various venues, featuring not only traditional genre performers, but also contemporary music stars who use gnawa music motifs in their work.

The Gnawa, especially in the city, practise a therapeutic possession ritual through all-night rhythm and trance ceremonies combining ancestral African practices, Arab-Muslim influences and native Berber cultural performances. The Gnawa in rural areas organize communal meals offered to marabout saints. Some Gnawa in urban areas use a stringed musical instrument gimbri covered on the playing side with camel skin and iron castanets, while those in rural areas use large drums and castanets. Colourful, embroidered costumes are worn in the city, while white attire with accessories characterize rural practices. The number of fraternal groups and master musicians is constantly growing in Morocco’s villages and major cities, and Gnawa groups – organized into associations – hold local, regional, national and international festivals year-round. This allows young people to learn about both the lyrics and musical instruments as well as practices and rituals related to Gnawa culture.

Omar Hayat and band. Omar Hayat is a maestro of Gnawa music. Listening to his transcendental music, you will enter into the deepest depths of the soul, or perhaps experience a trance and the healing effects of Gnawa music. Maestro Omar Hayat makes his own traditional string instruments gimbri (guembri) from wood and camel skin. The artist has already become an embodiment of the Gnawa tradition, a custodian of its legacy and a mentor to a new generation of Gnawa artists, passing on the tradition to future masters.

Omar's performance on stage is a carefully crafted masterpiece, combining visuals, words, music, symbolism and echoing the essence of the Gnawa rituals.

Since 1991, Omar Hayat has performed at numerous international festivals in Canada, Denmark, Italy, Portugal, Germany, England and France. Omar Hayat moves effortlessly from traditional musicianship imbued with deep spirituality to a high-energy event.

Omar Hayat's music is more than just notes and melody – it is a spiritual journey, an electrifying spectacle and a bridge between cultures. He embodies the essence of the Gnawa tradition, taking it into uncharted territories and leaving audiences enthralled.

Mariachi, string music, song and trumpet inscribed in 2011 on the Representative List of the Intangible Cultural Heritage of Humanity.

Mariachi is one of the most popular genres of Mexican folk music. It is traditional Mexican music and an integral part of Mexican culture.

Traditional mariachi groups, made up of two or more members, wear regional costumes adapted from the charro (Mexican horsemen, cattle and horse handlers) costume with wide-brimmed hats and sing to the accompaniment of stringed and woodwind instruments. The original mariachis were Mexican street musicians.

Ensembles playing modern mariachi usually include trumpets, violins, the vihuela (a five-string violin) and guitarrón (a six-string low-register bass guitar), and may have four or more musicians. The repertoire includes songs from different regions, jarabes, minuets, polkas, valonas, schottisches, waltzes and serenades, in addition to corridos (typical Mexican ballads narrating stories of battles,

outstanding deeds and love affairs) and traditional songs depicting rural life. Music and songs are learned by ear, and the skill is usually passed down from generation to generation.

Modern mariachi music has adopted other genres such as ranchera songs, the bolero ranchero and even the cumbia from Colombia.

Mariachi music transmits values of respect for the natural heritage of the regions of Mexico and local history in the Spanish language and the different Indian languages of Western Mexico.

The tradition of mariachi music is presented by "Mariachi El Mexicano".

Mariachi El Mexicano performs traditional Mexican music. The lively mariachi music and the colourful mix of costumes create a special atmosphere of a Mexican fiesta.

Group leader – Pablo Aguilar.

Fado, urban popular song of Portugal, inscribed in 2011 on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. 

Fado (“destiny, fate”) is a melancholic song about unhappy love, betrayal, death, despair and the ocean. The most important emotional element is longing. The genre of fado music was born in Lisbon in the 19th century. It is thought to be a song of women longing for sailors and soldiers fighting in the colonies, but it also has many elements of Brazilian and African music. The first half of the 20th century saw a revival of the fado tradition. Famous Portuguese poets began to compose verses for this music. 

Fado is performed by a solo singer, usually a woman, accompanied by two guitarists, one playing the Portuguese guitarra, a pear-shaped twelve-string instrument that is unique to Portugal, and the other playing a classical guitar. Nowadays, men also sing fado. 

Fado is like a performance that combines music and poetry. Fado songs are performed professionally on the concert circuit and in small 'fado houses' (bars), and by amateurs in numerous grass-root associations located throughout older neighbourhoods of Lisbon. Older, respected exponents teach the genre in informal traditional performance spaces, and it is also taught in families, passing on the tradition from generation to generation. Today, fado is a symbol of Portuguese identity. 

On JUNE 28, during the festival LAUKSNOS, the tradition of fado will be presented by the "Ideal Clube de Fado".

Puppetry in Slovakia and Czechia

Inscribed in 2016 on the Representative List of the Intangible Cultural Heritage of Humanity

Puppet theatre for communities in Slovakia and Czechia is not only a popular form of traditional entertainment but also a way of conveying a vision of the world, and an educational tool with messages on moral values. The puppets, whose characters are real or imaginary, are mostly made of wood and animated using various methods. Initial bearers of the practice were families of travelling puppeteers whose works later absorbed local influences in language and themes using namely comical figures with distinct characteristics. Puppet theatre is an integral part of Slovak and Czech local theatre and literary tradition. It also plays an important role in socialization, helping performers to develop as creative thinkers and learn about cooperation, communication and to strengthen their sense of identity in society. Featuring with other traditional rituals and festive events like feast days, markets and fairs, puppet shows today come in many different forms but still draw from tradition. Practice bearers include performers, playwrights, puppet and costume makers, as well as stage designers. Skills are transmitted by imitation and practice within performer communities, while in Slovakia also transmission takes place in traditional puppetry dynasties, as well as through workshops run by not-for-profit organizations and music and arts schools.

On 29 JUNE AND 30 JUNE, during the FESTIVAL LAUKSNOS, the tradition of puppet theater will be presented by a group of extremely talented puppeteers from the Czech Republic "Divaldo Spejbla a Hurvinka". They are responsible for maintaining the marionette tradition of stringing puppets since the time of the theatre's founder, Josef Skupa. A new generation of puppeteers carrying the tradition into the 21st century with great interest and artistry.

Polonaise, traditional Polish dance 

Inscribed in 2023 on the Representative List of the Intangible Cultural Heritage of Humanity 

The polonaise is a joyful Polish group dance, which can be enacted by a few to even several hundreds of pairs marching in procession, following a trajectory proposed by the first pair. The basic step involves bending one leg while taking a step forward with the other. During the dance, the pairs perform various figures, such as raising joined hands to create bridges under which other participants can pass. As the tempo of the polonaise is moderate, participants with no prior experience can observe others and join in on the dance. Today, the tradition of dancing the polonaise is inextricably linked with prom – a ball for high school students. In some communities, the polonaise is also danced at weddings, new year’s or carnival balls and other celebrations. The practice is typically transmitted within families and in educational institutions, dance groups and local communities. As it is widely present in Polish culture, general awareness of the dance and its social meanings are increased by literature, music and film. A form of joint celebration, the polonaise commemorates important moments in family and community life and symbolizes cooperation, reconciliation and equality. Because it is often danced by people of all ages and backgrounds, it also promotes unity, solidarity and dialogue. 

 On 28 JUNE, during the FESTIVAL LAUKSNOS, the tradition of Polonaise  will be presented by Folk Dance Ensemble POLIGRODZIANIE of Poznan University of Technology.

Short information about the ensemble: 
It all started in year 1973 when Zbigniew Solak established the Folk Dance Ensemble at the Poznan University of Technology, the oldest folk institution in academic environment of Poznan at present. During its 48-years of activity Poligrodzianie has become one of the most spectacular and biggest folk institutions in Poland with Academic Culture Centre enabling over 100 students and PhD students learning singing, various styles of dancing and playing instruments and youth classes for over 40 children. In 2000, international classes were introduced to help foreign students getting in touch with Polish heritage. 

The ensemble consists of over 40 dancers and singers divided into two performing groups and the biggest Polish folk music orchestra composed of 17 full-time professional musicians accompanied by five international jazz musicians. 

As one of the greatest Polish cultural heritage ambassadors, the ensemble visited 68 countries of the world and travelled nearly 2 millions kilometres during its over 150 foreign tours, performing in front of Jean Paul II twice, as well as the Mayor of New York, King of Kota Kinabalu Region, UNESCO four times, presidents and ministers of many countries like Israel, Malta, Malaysia, South Korea, China, Ireland or Mexico. Poligrodzianie were the first representative of Poland to participate in the Representations of the Regions of European Community held in Rennes. They paved the way for Polish artists in many parts of the world, being sometimes even the first Poles visiting those parts. 

The group gave concerts on the prestigious stages of Milan and Nashville, for the prisoners in the USA, in Disneyland or in the Tibetan prairie and for more than thirty-thousand audience in China. They represented Poland at the Theatre Olympiad in India, Christmas Fair in Hanover or EXPO in Gyeongju, winning a number of international awards on five continents. The ensemble received the honorary citizenship of the state of Tennessee, the keys to the cities of Tullahoma and Ismailia. It has recorded radio and television programmes for national media, among others, in Sweden, USA, Canada, Croatia, Italy and Spain. They received the gold medal and GRAND PRIX at the V World Championship of Folklore in Burgas, Nessebar, Bulgaria, in August 2015. 

The Folk Dance Ensemble Poligrodzianie was awarded with The Ambassador of Polish Culture by the Minister of Culture of Poland, honoured for its service by the Marshal of the Wielkopolska Region and awarded with the medal Poznan University of Technology Meritorious as the first and only unit of the university. The jubilee concert on the 40th anniversary of the ensemble received the award Best Creative and Artistic Folk Art Performance in Europe 2013 from the European Folk Culture Organisation. Since 2014, the ensemble is the Ambassador of Wielkopolska Culture. 

Director: Marzenna Biegała-Howorska 

PRESENTED PROGRAMME: 

From Village to Palace – from Walking Dance to Polonaise