Festival of Dialogue of Four Cultures
The figure of the father is one of the oldest and most powerful cultural motifs, a theme that might seem to have been explored and explained in minutest detail. Nevertheless, itis continually taken up again, with the same passion and anxiety, now in fascination, now as a painful coming to terms. Our relationships with our FATHERS are still complex and mysterious, yet it is these relationships that mould our identity, our attitude to power and authority, and cause us to feel safe or excluded. Psychoanalysis pointed out the emotional ambivalence inherent in the son’s attitude to the father, which for Freud was expressed most dramatically in the Greek myth of King Oedipus. On the one
hand, a little boy must love his father because he seems to him the wisest and best of all beings (indeed, even God is but an elevated image of the father), on the other, he sees the father as a disturber of his own instinctual life, so he wants to annihilate him and take his place. Freud believed it to be the cause of simultaneously affectionate and hostile impulses towards the father, which often persist throughout one’s life, unable to cancel each other out.
Authors : I. Bartczak K. Salska-Kopeć M. Siedlecka E. Wójcik PBW Łódź
Festival Dialogue of Four Cultures 9. EDITION 5-14 september 2009
Who, then, are our FATHERS? Who are WE in relation to our FATHERS? What do our biographies, family and generational histories tell about our mutual relations? How do we perceive fatherhood in social and political space, as well as the father’s presence or absence in religious and existential terms?
sponsors:
FestivalDialogu of Dialogue of Four Cultures Festiwal Czterech Kultur
RUSSIAN CULTURE Historically, the dominating position in Russia is occupied by the Russian culture, the culture of Russian language and Russian nationality; this is partly because Russians constitute the vast majority of the population in the country, and partly because many times in the History of Russia the cultures of other nationalities were suppressed through russification, see for instance Ems Ukaz. The politics of the Soviet Union with respect to culture was controversial: on one side there was a politicallymotivated desire to create a „Soviet people”, which was expressed in the notion of Soviet culture, exemplified by Socialist Realism. From the other side there were periodical campaigns of preservation of national cultures: every ethnicity had „great national writers” and folk
cultural practices were officially supported. Orthodox Christianity (Russian: Pravoslavije), is Russia’s traditional and largest religion, deemed part of Russia’s „historical heritage” in a law passed in 1997.[1] Russian Orthodoxy is the dominant religion in Russia.[2] 95% of the registered Orthodox parishes belong to the Russian Orthodox Church while there are a number of smaller Orthodox Churches. [3] However, the vast majority of Orthodox believers do not attend church on a regular basis. [4] Nonetheless, the church is widely respected by both believers and nonbelievers, who see it as a symbol of Russian heritage and culture.[4] Smaller Christian denominations such as Roman Catholics, Armenian Gregorian and various Protestants exist.
Festival of Dialogue of Four Cultures
GERMAN CULTURE Culture in Germany represents the traditional heritage of Germany in the field of literature, music, arts, cinematography, sports, cuisines etc. In the field of literature the country has shown marked progress during middle ages. At this time some of the master-writing received huge appraisal for their style and mass appeal. These comprise fairy tales collections by Jacob and Wilhelm Grimm. This was the time when bible was also translated in Germany, and the language used in the translation was lately started knowing as the High German language. In the genre of poetry and literature some of the eminent authors contributed most remarkably, they are Lessing, Goethe, Schiller, Kleist, Hoffmann, Brecht and Schmidt and this is how the
Germany Culture start growing. Culture in Germany is also one thing for which Germany is famed for is musical Culture of Germany. The country has some renowned musical artiest and world-famous composers, such as Beethoven and Bach. According to the international market research held Germany owns the 5 th largest position. The country folks have been a bridge between the classical and romantic era of music in western music-world. Culture and Tradition Germany about cinematography dates back quite a few years. Under Hitler ruling, most of the German cinemas were the imperial propagandas. From 1981 onwards Germany has produced variety of silverscreen presentations and got evaluations from the interna-
tional film fraternity. In recent past the German film known as �The lives of others’ by F.H. von Donnersmarck has own academy award for best foreign language film in 2007. In the filed of architectural excellence Germany has always leaded with beautifully designed buildings. Germany culture is also enriched with religious influences . The Culture and Tradition Germany is developed on Catholic, Protestant, Jewish and Minor Muslim religions.
Festival of Dialogue of Four Cultures
POLISH CULTURE The culture of Poland is closely connected with its intricate 1000 year history. Its unique character developed at the crossroads of the Latinate and Byzantine worlds, in continual dialog with the many ethnic groups living in Poland. The people of Poland have always been hospitable to artists from abroad and eager to follow cultural and artistic trends popular in other countries. In the 19th and 20th centuries the Polish focus on cultural advancement often took precedence over political and economic activity. These factors have contributed to the versatile nature of Polish art, with all its complex nuances. Customs, manners, and style of clothing have reflected the influences of East and West. The traditional costumes worn
by the nobility in the 16th and 17th centuries were inspired by rich Eastern ornamental style with its Islamic influences. The style of clothing is called Goral. Polish cuisine is yet another aspect of Poland’s cultural identity. Distinctive Polish foods include kielbasa, pierogi, pyzy, kopytka, gołąbki and mielony) and much more. History has not been good to Poland’s architectural monuments. However, a number of ancient structures have survived: castles, churches, and stately buildings, often unique in the regional or European context. Some of them have been painstakingly restored, like Wawel Castle, or completely reconstructed after being destroyed in the Second World War, including the Old Town and Royal Castle in War-
saw, as well as the Old Towns of Gdańsk and Wrocław. Architecture of Gdańsk is mostly Hanseatic architecture, common in cities along the Baltic sea. Wrocław is heavily influenced of German architecture since it was a part of the German states for centuries. The centre of Kazimierz Dolny on the Vistula is a good example of a well-preserved medieval town. In Vilnius (Lithuania) there are about 40 baroque and Renaissance churches. In Lviv (Ukraine) there are Gothic, Renaissance, and baroque urban s with influences of the orthodox and Armenian church.
FestivalDialogu of Dialogue of Four Cultures Festiwal Czterech Kultur
JEWISH CULTURE Secular Jewish culture embraces several related phenomena; above all, it is the culture of secular communities of Jewish people, but it can also include the cultural contributions of individuals who identify as secular Jews, or even those of religious Jews working in cultural areas not generally considered to be connected to religion. The word secular in secular Jewish culture, therefore, refers not to the type of Jew but rather to the type of culture. For example, religiously observant Jews who write literature and music or produce films with non-religious themes are participating in secular Jewish culture, even if they are not secular themselves. The Jewish people is generally considered to be an ethnoreli-
gious community rather than solely a religious grouping; Judaism guides its adherents in both practice and belief, so that it has been called not only a religion, but also a „way of life”. This makes it difficult to draw a clear distinction between the cultural production of members of the Jewish people, and culture that is specifically Jewish. Furthermore, not all individuals or all cultural phenomena can be easily classified as either „secular” or „religious”, a distinction native to European Enlightenment thinking and foreign to most of the history of non-European Jews. Throughout history, in eras and places as diverse as the ancient Hellenic world, in Europe before and after the Age of Enlightenment, in Islamic Spain and Portugal, in
North Africa and the Middle East, in India and China, and in the contemporary United States and Israel, Jewish communities have seen the development of cultural phenomena that are in some sense characteristically Jewish without being at all specifically religious. Some factors in this come from within Judaism, others from the interaction of Jews with others around them, and others from the inner social and cultural dynamics of the community, as opposed to religion itself. This phenomenon has led to considerably different Jewish cultures unique to their own communities, each as authentically Jewish as the next.
PROGRAM Festival Dialogue of Four Cultures 05.09 friday
07.09 sunday 12:00 — 19:00 // Performance FATHERS (Väter)
12:00 —19:00 // Music
Kwartludium and Sebastian Meissner
21:00 - 00:00 // Contexts
Martin Pollack / special guest of the festival
08.09 monday
19:00 — 21:00 // Visual arts
14:00 — 20:00 // Visual arts
19:00 — 20:00 // Visual arts
19:00 — 20:00 // Visual arts
21:00 — 00:00 // Music
16:00 — 17:00 // Contexts
C.D.N
Master & Monster
ON AIR
06.09 saturday 12:00 — 19:00 // Visual arts Tadeusz Kantor - retrospective
PROJECTION v13
Master & Monster
Starting FD4K’08
09.09 tuesday 12:00 — 19:00 // Performance Until
12:00 — 19:00 // Music
12:00 — 19:00 // Music
21:00 — 00:00 // Contexts
21:00 — 00:00 // Contexts
Exploding Star Orchestra
Promotion for the latest issue of “Słowo Żydowskie”
Maria Peszek
Contest
10.09 wednesday
13.09 saturday
13:00 — 19:00 // Visual arts
12:00 — 19:00 // Performance
12:00 — 19:00 // Cinema
12:00 — 19:00 // Music
21:00 — 23:00 // Contexts
21:00 — 00:00 // Contexts
Wideo-art
Kira Muratova’s movies
The Dead Class exhibition
11.09 thursday
The Academy of Fine Arts in Łódź Multimedia Workshop Projections
T. love
Leszk Karczewski’s statement
14.09 sunday
16:00 — 20:00 // Visual arts
14:00 — 18:00 // Visual arts
19:00 — 20:00 // Performance
19:00 — 21:00 // Visual arts
16:00 — 22:00 // Cinema
16:00 — 17:00 // Contexts
C.D.N
Center of the culture
Aleksie German’s movies
12.09 friday 12:00 — 19:00 // Performance How are you?
16:00 — 19:00 // Music FIsz
21:00 — 00:00 // Contexts New Video Energy
C.D.N
Master & Monster
Inauguration
CONTACT Festival Dialogue of Four Cultures
Address Festiwal Dialogu Czterech Kultur Plac Wolności 5 91-415 Łódź
Telephone Tel:+48 42 636 38 21 Fax: +48 42 636 33 11
web: www.4kultury.pl office: info@4kultury.pl press office: biuro.prasowe@4kultury.pl
People of IX FD4K Barbara Knychalska / President Katarzyna Knychalska / Dyrector Agata Siwiak, Grzegorz Niziołek / Art’s Dyrectors Marta Michalak / Producent Elżbieta Zielińska / Main Accounter Aleksandra Knychalska / Curator Małgorzata Ludwisiak / Curator Jacek Skolimowski / Curator Piotr Olkusz / Press Katarzyna Seweryniak / Secretary of Department Paweł Kamionka / Dyrector of Production Bożena Szafrańska / Producent Krzysztof Wojciechowski / Producent Monika Andrzejczak / Office Manager Marta Czerska / Assistance Adrianna Szczepkowska / Program Office Konrad Zieliński / Public Movement Zofia Rajkowska / Accounter Agnieszka Zalewska / PR Manager Przemysław Graczyk / IT Specialist Imagomedia / Web Developing FUFUFU / Webdesign Joanna Rybus / Web Editor
„Dearest Father, You asked me recently why I maintain that I am afraid of you. As usual, I was unable to think of any answer to your question, partly for the very reason that I am afraid of you, and partly because an explanation of the grounds for this fear would mean going into far more details than I could even approximately keep in mind while talking. And if I now try to give you an answer in writing, it will still be very incomplete, because, even in writing, this fear and its consequences hamper me in relation to you and because the magnitude of the subject goes far beyond the scope of my memory and the power of my reasoning” – so begins Franz Kafka’s famous “