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A Crusader in Poland Cultural Journey through Contemporary Movement by Krystyna Wiercioch |
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Jacek Luminski:
A Crusader in Poland's Cultural Journey through Contemporary Movement by Krystyna Wiercioch,
Creative Process Paper, Spring 2003
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The constant reconstruction of Poland, particularly after World War II and the end of Soviet occupation, encompasses political, social and cultural aspects
in redefining nationality and identity. Jacek Luminski, director of Silesian Dance Theatre, has taken on this rebuilding of Poland as a crusader.
Being an artist and a Polish - American woman, I find the passion of Polish citizens in relation to the rebuilding of their identity remarkably heartwarming.
I find myself interested in Jacek Luminski's strength and endurance; his drive to alter views of dance in Poland and his political
stance towards changes in government. Luminski, with a great deal of pride fro Poland, generates sociopolitical statements within his choreography,
raising awareness of contemporary dance in Poland. This awareness crosses boundaries of Luminski's nationality and region,
to the recognition of Jewish stories and culture from survivors of the Second World War. National and international networks, with varied dance artists,
have assisted Luminski with this crusade. His many efforts regarding the concern and care of political and cultural reneval gives Poland geographical
recognition in the dance field, illuminating Poland's rich cultural identity.
Born in 1958, to a working-class Catholic family, Luminskiâs initial affections were for music. Later, he expanded his interests into the performing arts
(Windreich, 95, 2002). His began developing his skills with acceptance into the State Ballet School in 1974, where he later became a member of the State Jewish
Theatre. The Jewish Theatre assisted in his metaphysical journey through the Polish Jewish community. He spent 15 years, beginning throughout Poland,
interviewing Jewish holocaust survivors and researching their historical accounts of atrocities. Thought it was difficult to establish relationship with
survivors due to the trauma of the holocaust, his research in Jewish folklore, social dance, and Haside rituals, included just more than 15 people and
resulted in documenting over 150 songs, and dances (Zadera, 2002, 40). During his travels, his interests and devotion to Polish culture made him a prominent
figure in the developmental stages of Poland's reconstruction, especially in cultural politics.
His travels did not end with the results of Hasidic dances and folklore. Luminski submitted the first four years of research for his Master's thesis at the Music
Academy in Warsaw in 1985. The remainder of his research was in finding how "cultures influence each other" and more so, those not Jewish or Polish
(Zadera, 2002, 41). This personal interest later influenced his choreography with themes of "prewar Jewish motifs" (Zadera, 2002, 41). Another influence was
Conrad Drzewiecki, who assisted Luminski in changing the norm of Polish culture. Drzewiecki was a choreographer instrumental in the separation from acceptable
dance forms in Poland, such as Russian Ballet and Polish folk dance to the inclusion of contemporary movement.
Luminski experienced this change from the Russian-taught ballet to contemporary movement by joining Drzewiecki in his Polish Dance Theatre in Poznan,
developed in 1973. The prominent form of ballet, still aesthetically valued today, was funded by the state under communist rule in the 1980s (Windreich, 2002, 97).
Windreich (2002) states in Poland's Fiery Dance Master, "Modern dance, with its more controversial materialsand arcane motives, was often suspect in the
socialist state" (97). Despite Drzewiecki's background in ballet, his fondness was for dance-theater, working through the expression and meaning of movement.
He developed his movement technique during his study of jazz and contemporary forms in France with the stylization of Martha Graham (Kaminski, 200, 23).
Graham's modern technique dealt with angular motifs formed through her signature contract and release philosophy initiating from the pelvis. Taking his interest
of dance-theater, Dzrewiecki combined Polish folklore and dance, creating works that responded to Poland's history of destruction and reformation.
Through his choreography, Drzewiecki searched for a communication with the audience who cared for "the mortal and historical problems of their time"
(Kaminski, 200, 23). Drzewiecki's choreography inspired Luminski, encouraging the creation of his dance productions, resembling collages and reworking of
movement elements taken from different artists and cultures (24).
Luminski's choreographic influences begin with the early choreographers of this time: Pina Bausch, Anna Sokolov, and Jose Limon. His theatrical influences,
as seen through his use of text and gesture, were Jerzy Grotowski, Tadeusz Kantor, Henry Tomaszewski, along with his substantial research within the Jewish
community.
Luminski's movement developed primarily from his study of Jewish Hasidic dances. Luminski best explains the style of the movement in an interview by Michal
Zadera for "The Jerusalem Report".
"Is the division of the body at the waist, which can be traced right back to its Hasidic source. In male Hasidic dress, the gertel [Yiddish for "belt"] marks
the division between the upper body, which belongs to God, and the lower body, which belongs to unclean forces. In dances practiced at certain pre-war Hasidic
courts, these two regions moved according to two separate rhythms, or could have an entirely different quality. Different forces were in control of different
parts of the body" (2002, 41).
Thus, the culmination of influence in an evening work by Luminski generates vocabulary such as athletic, high-speed, intense, obscure, and best described by
Anna Kisselgoff, a New York Time critic, "his works are intense, obsessive in their picture if abstract emotions" (1995, C11).
Luminski's precedents clearly include the rising awareness of contemporary dance in Poland as well as awareness of Poland's contribution to dance.
To understand Luminski's struggle within Poland, one should read his passionate political statements in his contribution to Dance Magazine and Ballet International.
He has concern for the increase in social disintegration, economic upheaval, and misinformation distributed by propaganda. This is prominent, not only in his
direct statements of Poland's sociopolitical and cultural status, but through his choreography. His choreography is often another voice, projecting the crisis
of Polish economics, culture, and community. "WK-70", created in 1999, is an example of how his choreography mimicked Polandâs economic status. "WK-70" is the
title for a technology of mass-produced high-rise buildings, designed in the 1970s (Kaminski, 200, 24). Luminski's intention was to introduce the effects of
isolation upon peopleâs lives. Jennifer Dunning (1999), of The New York Times, states, "Luminski sees this world as large, anonymous apartment blocks with tiny rooms,
but one can also imagine night streets in a deserted and unlovely city of the future"(E3). To the further illuminate Poland's social digression, Luminski (1989),
in Warsaw, Lodz, and Poznan (Poland): Remedy for illness?, refears to the country's forgetfulness in choosing political figures for office based on "effective, and
essentially democratic, competition. Instead, [their] governors still appoint their own people to any posts"(52). Thus, Luminski"s contributions, particulary as a
dance critic, have gone beyond the critique and analysis of dance to the political education of the Polish people.
Luminski's dichotomy of Polish pride is for the dynamic changes Poland ismaking and his didactic need to educate the ignorant as they gain awareness of thepresent
political condition. He has no qualms discussing Poland's backward interests in culture and politics. Until recently, the citizens of Poland did not have a voice;
now discussion on politics, history, culture, and finance fill the papers, radio, and TV. Yet, the climate of family and friends shift as youthful Poles have the
ability to leave in search of a "better place to live" (Luminski, 1989, 52). Thus, Luminski assists in rebuilding Poland's national identity through his
involvement beyond the struggles of public recognition of contemporary dance, the development of a successful, internationally acclaimed dance company and yearly
festival, and widely traveled workshops.
Despite the drudgery of Poland, and brighter hopes for youth outside of their homeland, are the thriving companies and artists inspired through Luminski's work.
The success and respect of many new Polish dance artists came with his influence and untiring dedication to contemporary dance. Luminski constantly brings back
to the community with the education supplied through his many outreach programs and workshops.
Luminski stresses two forms of hope for Poland's cultural horizon, in themagazine Ballet International, published in 1990; the founding of Association for Dance
Lovers and the concept of the Theatre of the New Dance(32). The importance of these forms of hope during this time and prior to his creation of the Silesian Dance
Theatre was the recognition of new movement presented to the Polish public. The Theatre of the New Dance made the visit of Judith Ingber possible. Ingber, at
the time an affiliate faculty at University of Minnesota, presently choreographs and writes on Jewish themes in dance. Ingber, an
"important contribution to the development of the art of dance in Poland" (32), is indicated as a key player in Luminski's international dance outreach programs
by Sharon Friedler, the dance director at Swarthmore College in Pensylvania (S.Friedler, personal conversation, April 16, 2003). A year later in 1991, Luminski
founded the Silesian Dance Theatre and with it the determination to impact the field of contemporary and modern internationally as well as nationally.
Acknowledged by Sharon Friedler, Luminski's work is a source of inspiration among other Polish artists and choreographers (S. Friedler, personal conversation,
April 16, 2003). With the creation of SDT came the design and development of annual festivals. For ten years, Bytom, Poland has facilitated these festivals to
establish "a forum where foreign and Polish artists can present their work, international contacts can be made at any levels and arts networking enhanced"
(Arndt, 1995, 59). Luminski's journey through socio-political concerns of Poland, work with several different movement genres and artists, festivals, choreography,
and international contributions are a large commitment. It appears he has little time for strong synchronicities or influences yet he has created outstanding
connections within the dance arena. Friedler described Luminski as "parochial" - set on an important mission, building bridges to benefit dance and his goals
(S. Friedler, personal conversation, April 16, 2003).
Luminski's mission to expand Polish contemporary dance and educate artists from all corners of the world limits his association with others at a personal level.
People, fellow artists, and dancers have become connections towards his goals. His schedule consists of workshops, performances, and the yearly festival. He has
professional relationships with universities throughout the world, in countries such as Israel, England, German, and the United States. SDT also endures long term
residencies worldwide. Those within the United States have consisted of Durham, New York, Minneapolis, Fargo, Winnona, Columbus, Washington DC, and Philadelphia.
Information obtained from the Silesian Dance Theatre General Information Booklet Pennsylvania's Swarthmore College benefited from his networking, since the SDT
residency, has included Poland in their foreign exchange program. This is only a small portion of Luminski's devotion to dance and Poland as well as his efforts
to bring Poland to others.
Luminski's journeys to learn about the way people live, teaching others of whathe has learned, and accomplishments as a productive force in Poland's cultural
sphere are reflected in his choreography. My personal opinion of Luminski was by my readings of his critical claims of Poland's development, and the many critics
and professional reviews of him as a performer, choreographer, and philosopher. His intrepid statements appear in his factual portrayal of Polish life, predominantly
during communist reign. He recognizes the lives encountered throughout his journey, as well as their shaping within a dreary society. Luminski(1989), illuminates
my assumption, in regards to the past democratic change, "From day to day their cheeks, which were flushed with learning something which recently was forbidden,
grow pale"(52). Critics exclaim from choreography presented the disturbing images or perceptions that "human nature, not society, creates despair and solitude"
(Kisselgoff, 1995, C15). Linda Caldwell (2000), an American choreographer and dance educator, coalesces Polish dance stating, "The Polish emphasis presents a
variety of artistic visions that are often controversial and not fully established along with those that are traditional and more critically accepted".
It is an understatement not to assume that his life, and that hundred others, is reflected in his work.
Acclaim for Luminskiâs choreography resounds in Poland, yet he may not feel a similar echo from American audiences. Critics expose Lumiskiâs work with honestly,
a point of view that will cause an audience to make presumptions prior to attending a performance. He does not bring to the stage a typical ballet or modern movement
to show American hegemony upon Polish culture. Friedler stated Luminski's performances as causing the audience to "leave the theatre with your emotions challenged"
(S. Friedler, personal conversation, April 16, 2003).
Jacek Luminski, having existed through the trial and tribulations of a country bordered by warring ideologies, has taken it upon himself to progress the state of
Poland forward culturally, thus affecting the socio-political aspects of the nation. His candor towards government has put him into positions of authority enabling
the construction of an innovative dance movement, aided substantially by his predecessor Conrad Drzewiecki. The difference is Luminski's thrust of humanistic
realities experienced by the survivors of Poland's diverse comminities. As he ventured into the world, Luminskiâs affect on Western dance organizations blossomed,
provoking the beggining of a life long aspiration. Today, he looks toward accomplishments in the areas of contemporary dance education in universities and broadening
his span of dance community networks.
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| References |
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Arndt, R. (1995, November). Making a Start in Poland, Ballet International, 58-59
Caldwell, L. (1999, February 20). Melody to Plait a Twig and Notes from a Briefcase-gua-va. Performance Review, 466-468
Caldwell, L. (1998). Contemporary Dance in Poland Raises its On Voice, Periphery: Journal of Polish Affairs.
Dunning, J. (1999, March 16). Chance Encounters in Alphaville. The New York Times, E3.
Friedler, S. (2003, April 16). Personal conversation. 30 min., Swarthmore College, Pensylvania.
Kaminski, B. (200, October). Polka with a Straw Man. Balet International, 22-24.
Kisselgoff, A. (1995, January 10). Distinctive Ideas at Top Speed. The New York Times. C11-C15.
Luminski, J. (1989, December). Warsaw, Łódź and Poznan (Poland): Remedy for Illness? Ballet International, 52-53.
Luminski, J. (1990, September). The Polish Dance Scene: New Developments. Ballet International, 32.
Szporer, P. (2000, October). Poland is the Avantgarde of the East. Ballet International, 25-27.
Windreich, Leland. (2002, September). Poland's Fiery Dance Master: acek Luminski. The World&I, 94-99.
Zadara, M. (2002, November). Transforming a Lost World. The Jerusalem Report, 40-42.
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