ARCHEOLOGY BEYOND ARCHAĪOS

ARCHEOLOGY BEYOND ARCHAĪOS

Dawid Kobiałka, Mikołaj Kostyrko, Kornelia Kajda


ARCHEOLOGY BEYOND ARCHAĪOS. A CASE STUDY OF A PRISONER OF WAR AND INTERNMENT CAMP IN TUCHOLA (KUJAWY-POMERANIA PROVINCE)

KEY WORDS: archaeology of the recent past, prisoner of war camp, memory, heritage, materiality, remote sensing, LiDAR, Tuchola

SUMMARY

The starting point for this paper is a growing archaeological interest in the studies of material culture and landscapes from the recent past. It is argued that traditional approach towards archaeology as science that studies the ancient and the very old is too narrow to embrace the whole diversity of the archaeological research in the contemporary times.

Within contemporary archaeological discourse, there are a few terms that try to account for archaeology beyond archaīos. One can just refer to: the archaeology of us, archaeology of the contemporary past, archaeology of the recent past, archaeology in and of the present or archaeology of the contemporary world. Not being synonymous, these term nonetheless share a conviction that it is material culture, no matter how old or new, that is the constitutive element of archaeological practice.

The discussion concerning recent reconfigurations in archaeological theory and fields of interest is used in the article as a background for the practical presentation of the epistemological potential of archaeology oriented on material culture and landscapes from the recent past. As a case study, the authors use the remains of the prisoner of war and internment camp in Tuchola (Kujawsko-Pomorskie Province, Poland). The camp was run between 1914 and 1923: during the First World War, by Germans and then, during the Polish-Soviet War, by the Poles.

First, the paper shortly discusses the history of the camp on the basis of the available historical data. Second, following archaeological interests in the transformations of landscapes related to modern armed conflicts, the authors analyse and document the remains of the camp using LiDAR-derivatives. The article concludes with the thesis that the materiality of twentieth-century landscapes should become the subject of closer archaeological attention. Along these lines, LiDAR technology can be also a useful tool in the context of approaching such landscapes.

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The article was originally published in Polish at Folia Praehistorica Posnaniensia.

Summary and photos are published with the permission of the Authors.

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Miedzianka/Kupferberg. Memory of the town

Miedzianka/Kupferberg. Memory of the town

2017

Winner of Asymptote Journal’s 2016 Close Approximations Translation Contest and Shortlisted for the Ryszard Kapuscinski Prize, Filip Springer’s History of a Disappearance is a fascinating true story of a small mining town in the southwest of Poland – Miedzianka that, after seven centuries of history, disappeared.

Lying at the crucible of Central Europe, the Silesian village of Kupferberg suffered the violence of the Thirty Years War, the Napoleonic Wars, and World War I. After Stalin’s post-World War II redrawing of Poland’s borders, Kupferberg became Miedzianka, a town settled by displaced people from all over Poland and a new center of the Eastern Bloc’s uranium-mining industry. Decades of neglect and environmental degradation led to the town being declared uninhabitable, and the population was evacuated. Today, it exists only in ruins, with barely a hundred people living on the unstable ground above its collapsing mines.

In this work of unsparing and insightful reportage, renowned journalist, photographer, and architecture critic Filip Springer rediscovers this small town’s fascinating history. Digging beyond the village’s mythic foundations and the great wars and world leaders that shaped it, Springer catalogs the lost human elements: the long-departed tailor and deceased shopkeeper; the parties, now silenced, that used to fill the streets with shouts and laughter; and the once-beautiful cemetery, with gravestones upended by tractors and human bones scattered by dogs. In Miedzianka, Springer sees a microcosm of European history, and a powerful narrative of how the ghosts of the past continue to haunt us in the present.

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2011

Miedzianka: Historia znikania [Miedzianka: Story of Disappearing] published by Wydawnictwo Czarne, Wołowiec 2011

Coppferberge, Kopferberg, Kupferberg, and later Miedzianka. A town; and in the town – a church, bakery, pharmacist’s, inn, brewery, paper-mill, forge and hairdresser’s. There were weddings there, children were born, somebody died. Supposedly, the town was cursed as at some point, a man murdered his own brother. And two crosses were put up beside the road: one of them read: ”Memento”, so the tragedy would not go forgotten. ”History has never really arrived here; more adequately, it just kept wandering about the neighbourhood”, writes Filip Springer in his debut book about the town which used to exist but does not anymore. The process of disappearing started with a cherry tree, devoured one time by a crack in the ground; the tree still had fruit on its top branches. Houses, tombs, started to sink deeper and deeper into the ground. People would vanish into thin air. Girls played with crystals from church chandeliers and boys reached into old, derelict graves to take out old skulls buried long before. What made the town, the seven-centuries-old town, cease to exist? Are the damages resulting from Uranium excavations conducted by the Russians between 1948 and 1952 to blame? Or, maybe, the underlying cause was the Evil Woman mentioned by the one-time Miedzianka inhabitants who fled the town? This polyphonic story of Miedzianka does not provide answers for all posed questions but the memory of the town has been preserved.

Filip Springer (b. 1982 in Poznań) is a photographer and journalist, whose works are published in all-Poland magazines such as ”Polityka” weekly. In 2010, he received a grant awarded by the Minister of Culture and National Heritage and in 2012, he was included in the ”Młoda Polska” (”Young Poland”) grant programme of the National Cultural Centre. Filip Springer co-created a project under the name “Ill – Bred” (”Źle Urodzone”), dedicated to documenting historic buildings of the post-war Modernist era in Poland and presenting them to broad audiences; in March 2012, a book covering this issue was published by Karakter. ”Miedzianka: Story of Disappearing” (”Miedzianka. Historia znikania”) is Filip Spinger’s début in the field of literature.

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References:

http://www.europenowjournal.org/2017/04/03/history-of-a-disappearance-the-forgotten-story-of-a-polish-town-by-filip-springer/

http://www.kulturalna.warszawa.pl/kapuscinski,6,1776.html?locale=en_GB

http://wrzenie.pl/reportaz/451-miedzianka-wersja-angielska-history-of-a-disappearance.html

 

 

The Burren. Memories from the Middle-earth

The Burren. Memories from the Middle-earth

Dabrowka Stepniewska


The Burren is a limestone plateau in north County Clare, Ireland, dominated by karst landscape. It measures at least 250 square kilometers. This extraordinary region is rich in natural and cultural attractions. Traveling via the Wild Atlantic Way, along the rocky coast of the Atlantic Ocean, through the limestone desert interspersed with the green hills and valleys, you have the impression of traveling in time and space. In a moment you are back to the Neolithic Era, in the other you are crossing the gate to the world of fantasy full of Little People, Feries and other amazing creatures well known from the J.R.R. Tolkien works.

The name Burren comes from the Gaelic and means a rocky place. Historically, the name referred to the Barony of Burren situated in north-west County Clare. Geographically, the name has a wider meaning. The area lies between Galway Bay on the north, the Atlantic coast on the west and a line drawn through Doolin, Kilfenora, Gort and Kinvara. However, outside this area you can also find the limestone features, but not as frequently and concentrated.

The Burren, County Clare, Ireland
The Burren, County Clare, Ireland

The Burren is the youngest landscape in Europe and has suffered intense glaciation. The last one occurred about 10 000 years ago. You can find here almost all typical limestone landforms, like underground rivers, swallow holes, glacial erratics, caves, clints, grykes and closed depressions. The limestone is an organic sedimentary rock laid down millions of years ago in a shallow warm sea, it is the result of marine plants and animals dying and accumulating in horizontal beds on the sea floor.

The first people to arrive in the Burren were hunters and fishermen who moved into animal husbandry with the keeping of cattle, sheep and goats. From the results of research and archaeological excavations a lot of information has been gathered about the life and death of these early settlers. There are numerous monuments and tombs dated to the Neolithic Era from, ca. 4000 – 3000 BC. The tombs of the first farmers, widely known as megaliths, are impressive monuments over the graves of their dead.

Poulnabrone Dolmen, by Steve Ford Elliott
Poulnabrone Dolmen, by Steve Ford Elliott

The Burren is also well known for the remains of over twenty churches constructed between the 6th and 12th centuries. These are evidences of the spread of Christianity in this region and traces of stay of the early Irish missionaries, like St. Colman and St. Cronan, who laboured in this remote area. Most of these churches are of architectural interest and in most cases their patrons and founders being known and revered.

The Corcomroe Abbey is one of these remains, sited among the grey hills and valleys of the Burren. It is best known for its lonely situation. The abbey acquired the name of Sancta Maria de Petra Fertili (St. Mary of the Fertile Rock) which reflects the fertile nature of the Burren lands. It has been built in the 12th century and used by the Cistercian community for the next 400 years.

The Corcomroe Abbey

In a countryside like the County Clare, isolated from the rest of the country by the river Shannon, with so many visible remains of the past and an extraordinary landscape that stimulates imagination, the folklore was rich and survived over the centuries maintained by the Gaelic language. It has left many material and immaterial traces in the landscape and in the literature.

Recently it turned out that the magical landscape of the Burren may have inspired J.R.R. Tolkien to bring to life the Middle-earth – the central continent of the Earth in Tolkien’s imagined mythological past. The term is equivalent to the term Miðgarðr from Norse mythology, describing the human-inhabited world. In ancient Germanic mythology, the world of Men is known by several names, such as Midgard, Middenheim, Manaheim, and Middengeard. The Old English word middangeard descends from an earlier Germanic word, transliterated to modern English as Midgard.

Doolin Fertile Stone
Doolin Fertile Stone

Tolkien’s world famous works, like The Hobbit and The Lord of the Rings, take place entirely in Middle-earth. J.R.R. Tolkien worked as an external examiner to National University Galway in the 40s and 50s of the XX century. Galway, the most central port on the West Coast in the sheltered eastern corner of Galway Bay, located between County Galway in the province of Connacht to the north and the Burren in County Clare in the province of Munster to the south, was a great starting point for exploring the surrounding area.

It is said by the locals that Tolkien would often take trips to the lunar-like landscape of the Burren. When you consider that Tolkien was visiting the Burren around the same time that he was writing The Lord of The Rings, it is easy to see how the stark beauty of this region might have inspired him. The landscape here is certainly unusual, and for a fantasy author such as Tolkien it must have been magnetic.

The Burren, County Clare, Ireland
The Burren, County Clare, Ireland

Amongst the craggy fissures and creeping woods of the Burren there is a cave called Pol na Gollum (Hole of Gollum). The Gollum’s character is essential to the entire plot of The Lord of The Rings. Did Tolkien get the name for this miserable creature from this cave? Furthermore, Gollum in The Lord of The Rings had a distinctive gurgling cough, and at the mouth of this cave the chirps and calls of rock doves echo and transform into a similar guttural sound.

Thanks to Peter Curtin, the owner of The Roadside Tavern pub in County Clare and a member of The Burren Society Tolkien Symposium, it has been accepted that one of the most iconic authors of the fantasy literature – J.R.R. Tolkien, was influenced by the magic of the incredible place of the Burren while writing his most famous work.

Pauline Baynes's copy of J.R.R. Tolkien's The Lord Of The Rings
Pauline Baynes’s copy of J.R.R. Tolkien’s The Lord Of The Rings

Gallery

Reference:

http://www.clarelibrary.ie/eolas/coclare/places/the_burren/burren_karst.htm

http://www.ireland.com/en-gb/what-is-available/attractions-built-heritage/historic-ireland/articles/burren-and-tolkien/

https://www.theceltictimes.com/index.php/irish-stories-main-menu/the-little-people

https://www.theceltictimes.com/index.php/irish-stories-main-menu/fairy-and-folk-tales

https://en.wikipedia.org/wiki/Middle-earth#Etymology

https://en.wikipedia.org/wiki/Galway_Bay

http://www.dailymail.co.uk/news/article-3287440/Show-way-Mordor-Unique-hand-drawn-map-Middle-Earth-gives-rare-insight-Tolkien-s-mind.html

https://www.lib.utexas.edu/maps/historical/history_colbeck_1905.html

https://www.theguardian.com/books/australia-books-blog/2016/sep/26/hannah-kent-the-good-people-dives-into-an-irish-world-of-faith-and-fantasy

Three medieval worlds and the social memory of cultural heritage sites.

Three medieval worlds and the social memory of cultural heritage sites.

Grzegorz Kiarszys


The presented book “Three medieval worlds. Iuxta castrum Sandouel” aims to tell the stories of the remains of medieval strongholds in the cultural landscape of the Góra district (Lower Silesia Region, Poland) and to restore their presence in the social discourse. The research project was financed by the Polish Ministry of Culture and National Heritage, coordinated by the National Heritage Board of Poland, with the aid from Archeo Landscapes Europe. The studies focus on the relics of early medieval strongholds and late medieval motte castles located in the Lower Silesia Region, Poland. These features are often considered as mysterious objects of anthropogenic origin. However, their original purpose and cultural value is seldom recognized by the local community.

Relatively low historical awareness in the western Poland results from the historical context of those territories. After the end of World War II, due to decisions made at the conferences in Yalta and Potsdam, the eastern part of the Third Reich was put under Polish administration. The local German population was replaced by Polish settlers from the eastern and central territories. Post-war reality in western Poland caused the meaning of archaeological and historical monuments to be devalued. Polish citizens, resettled to the western territories, perceived the landscape as “alien” or “German”. After the horror of war they were unable to recognize the heritage sites or imagine their abstractive value and identify with it. In their eyes the landscape of “Regained Territories” didn’t have any past or tradition worth to acknowledging and commemorating. Historical and archaeological monuments were not seen as their property.

On the other hand, the communistic ideology was about creating the new social order; it exploited the past for political reasons, developing interest only in specific archaeological sites, for example those related to the early Polish Piast monarchy. Such archaeological sites could later be used in the discourse of propaganda and to justify border shifts after World War II. Along with the disappearance of archaeological earthworks from the Polish topographical maps, they also vanished from the awareness of the local population, losing their cultural value. The consequence of that process had a great impact on the contemporary perception of cultural heritage in western Poland.

Archaeological sites can be valued due to their physical form and state of preservation, as well as their chronology or relationship with historic events that are considered to be important. As soon as such a place is identified and significant, it starts to play a part in contemporary social discourse, receiving a new cultural context. This can be created in relation to different roles such as education, or become an active part of the construction of social identity.

The non-invasive archaeological methods can be useful for popularizing of archaeology and widening the awareness of historical places in local societies. Application of such methods as: aerial photography (both archival and contemporary), Airborne Laser Scanning, magnetometry and historical cartography can be valuable, not only for professional archaeological landscape studies, but also in the process of construction of a narrative about the biography of specific archaeological features.

Archaeology can produce a persuasive and aesthetic background for the contemporary social discourse. Restoring the memory of archaeological heritage sites in the region, with the aid of a properly constructed narrative and visualisation of specific monuments, can revive the imagination of local society and fill in the empty places with stories being told once again.

 

Cemitério dos Prazeres and Memory of the Dead

Cemitério dos Prazeres and Memory of the Dead

Cemeteries are one of the most impressive reflexes of an historic moment in a certain culture. Therefore, it is rather understandable why southern Europe cemeteries present features that cannot be easily found in Great Britain cemeteries, for example. However, if we look closer to Portuguese cemeteries, we can easily distinguish it from the Spanish, the French or even from the Italian ones.

Francisco Queiroz

Dabrowka Stepniewska


The rainy and gloomy November especially encourages to do some reflection and meditation on the transience, the death and the fragility of human life. This is the best time for remembering the dead and visiting cemeteries. The Western world celebrates in this particular time of the year the Halloween, the All Saints’ Day, the All Souls’ Day from 31st October to 2nd November. At that time cemeteries are illuminated by thousands of candles and sunk in flowers, like in Poland. However, during the rest part of the year the final resting places are usually empty.

In the last week of October this year I visited the famous Prazeres Cemetery in Lisbon, just before the upcoming holidays. Portuguese transport has switched already to the winter timetable, but the temperature was still high (ca. 27-29 degrees Celsius) and the sun was shining beautifully. So there was not a bit of the so called “November atmosphere” which I described above. It was completely different, in fact. The Prazeres Cemetery was almost empty. I saw only a few tourists and I met two old ladies, who were taking care of the graves of their dead spouses. We had some conversation  and frankly they complained a bit that since the cemetery has become a monument the cost of upkeeping the graves increased significantly.
I walked around the cemetery around 1.5 hours and I really felt myself like visiting a ghost town, a city of the dead. The plan of the streets, squares, monuments, mausoleums, chapels and avenues with the houses of the dead corresponds 1:1 to the normal city plan, a living city. Nevertheless, the net curtains in the tombs’ windows looked a little spooky and caused me a bit of an unpleasant shudder. And the coffins visible directly through the glass… This is not a daily view, even at a cemetery. Modernly, we are more accustomed to burying the coffin with the body in the ground or to a discrete cremation rather then exposure of coffins with corpses. A certain order of things had been infringed and that was probably the reason why I felt a bit strange and slightly uncomfortable.
Beyond the beautiful nineteenth century romantic architecture and the scenic location, the Prazeres Cemetery is also well known from the oldest and largest concentration of the cypresses on the Iberian Peninsula. These long-lived trees bring incredible peace and dignity by their presence and are the characteristic elements of this landscape. And the cats are the only living inhabitants of the Prazeres Cemetery, I suppose. They behaved very calmly and very freely, so you could conjecture that the cemetery is probably their living environment, their home. It is significant that the more we move to the south of Europe, the greater dominance of the cats in the cities we observe. Sometimes they took such a pose that they looked like a guardians, absolutely focused and concentrated. Just like the mythical Cerberus,  guarding the entrance to the underworld…
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The Prazeres Cemetery was originally created to handle the thousands of victims of the cholera epidemic in 1833-34.  By 1839, wealthier families began to build monuments.  Several hundred tombs were build between 1839 and1850 alone.  Many important names figures of Portuguese arts and politics are buried here.  The Prazeres Cemetery became the model for most cemeteries in the center and south of Portugal, and is the most cosmopolitan cemetery still existing in the nation.

Before the grounds were converted into a cemetery, it was a collective of farms by the name of Quinta dos Prazeres in which you could find gardens, vineyards and orchards. It’s location, with a beutiful view of the Tejo river, was noble indeed, positioned near Dom Pedro II’s Royal Palace in Alcântara and the other royal parties.

In the XVI century the farm was converted into a refuge for people suffering diseases like smallpox, the plague and yellow fever. Eventually, thanks to the the cholera morbus epidemic in the 1830s, the whole area was designated as a final resting place for the local aristocracy. It was run by the nuns from the Convento de Boa Morte (Good Death Convent) until 1834.

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References:

http://portugalconfidential.com/10-intriguing-cemeteries-of-portugal/

http://www.cm-lisboa.pt/en/equipments/equipment/info/cemiterio-dos-prazeres

http://www.cm-lisboa.pt/equipamentos/equipamento/info/museu-cemiterio-dos-prazeres

http://www.ucityguides.com/cities/10-famous-cemeteries.html

http://www.atlaslisboa.com/cemiterio-dos-prazeres/

http://queirozportela.com/cemetpo.htm

Chopin. Memory and musical landscapes, part II

Chopin. Memory and musical landscapes, part II

Dąbrówka Stępniewska


Part II
Biography of place and landscape. Memory and monuments.

The Birthplace. The composer’s mother, Justyna nee Krzyżanowska, from an impoverished gentry family, helped with the house keeping as a resident of the Skarbek’s manor house. She met Mikołaj Chopin, a French immigrant who became tutor to the Skarbek’s children at Żelazowa Wola. The Chopins married in 1806 and set up home in the right part of the annexe of the Skarbek’s estate.

Nothing is known about the furnishings of the flat where Fryderyk’s parents lived in the annexe of the Skarbek’s manor house. It could have contained furniture belonging to the Skarbeks, but the Chopins might also have possessed their own. There is no doubt, however, that the interiors were furnished modestly and in a stylistically inconsistent way. The existing books belonged to the family and certainly have been kept in a bookcase.

The Birthplace of Fryderyk Chopin in Żelazowa Wola. Photo M. Czechowicz
The Chopin’s Room. Permanent display at the Birthplace of Fryderyk Chopin and Park in Żelazowa Wola. Photo by M. Czechowicz

After moving to Warsaw in the autumn 1810, the Chopin family maintained close and warm contacts with the Skarbek family. Żelazowa Wola became a destination for  Chopins summer excursions. Only one letter addressed to Fryderyk’s friend Jan Białobłocki survived, where the composer describes his summer holiday in Poland. Fryderyk and Jan spent the summers of 1824 and 1825 in close proximity. Their visited one another on regular basis. Białobłocki died at 21, most probably of tuberculosis of the knee. Chopin wrote 13 letters to his friend, the last dated 12 March 1827.

Descriptions from the period, which are not always reliable, speak of the composer giving concerts on a piano carried out from the house and placed beneath a spurt, on which occasions his music would have been heard by all around.

The Park Monument_Żelazowa Wola
The Park – Monument in Żelazowa Wola

The Museum. The idea of creating a museum devoted to Fryderyk Chopin in the annexe of the Skarbek’s estate dates back to 1891, but it was not until the inter-war period that concepts for its display began to be realized at Żelazowa Wola. None of them was fully implemented at that time. The intention was to furnish Chopin’s birthplace partly with historical furniture, in an effort to recreate the atmosphere of the times. The plan was to fill the display devoted to Chopin with souvenirs connected with the composer and his family.

During the period when the Chopin Family was living at Żelazowa Wola, the right part of the annexe was residential, while the left part, with a cellar, served functional purposes. The display in this room presents the history of this modest manorial annexe, with its successive renovations and functions from beginning of the XVIII century, when the landed estate of Żelazowa Wola was acquired by Count Skarbek, up to the 1930s, when the neglected building was rebuilt and turned into a museum – a place devoted to the memory of Fryderyk Chopin.

Broadwood & Sons piano 1843 in Żelazowa Wola
Broadwood & Sons piano 1843 in Żelazowa Wola

Although the display was not officially opened until 1949, it is known that the Chopin’s death mask was already here in 1930 and later also two pianos, copies of portraits of the composer by Delacroix, Scheffer and the Bissons, a collection of Chopin-related drawings and probably a cast of his hand.  Few of the items from the pre-war interiors survived the World War II.

In post-war display, the furnishings were more in line with current conceptions of the interiors of a XIX century Polish manor house than the humble annexe in which Chopin was born. At that time, the left side of the annexe was not distinguished as having been non-residential, with a fictive vision of a manor house created throughout the building.

Żelazowa Wola, First Chopin's Monument 1894
The First Chopin Monument in Żelazowa Wola, 1894

The Monument. On 14 October 1894, the first Chopin monument on Polish lands was unveiled. Modest in form, referring to the tradition of obelisk commemoration and given such a form due to censorship restrictions. It was shaped like a gravestone, since that was the only form allowed by the Russian imperial authorities of those times. The medallion with an effigy of Fryderyk Chopin was designed by Jan Woydyga whereas the whole monument was designed by Bronisław Żochowski.

The unveiling ceremony represents a symbolic watershed in the history of the commemoration of Chopin’s birthplace. It also marked the start of lengthy efforts to set up a museum devoted to the composer. From the beginning of the XX century, many initiatives designed to popularize the birthplace of Fryderyk Chopin were undertaken, like numerous concerts, trips and exhibitions, accompanied by the collecting of donations initially towards the purchase of the annexe from private hands and then for the creation of a museum.

The Chopin Monument in Żelazowa Wola
The First Chopin Monument in Żelazowa Wola, 2016

Mily Balakirev, a Russian composer, pianist, conductor and musical activist and an enthusiast of Fryderyk Chopin’s music, secured the permission of the Russian imperial governor of Warsaw to erect a monument to the composer. Aleksander Poliński, a member of the Committee of the Warsaw Music Society, sought to buy the historical annexe from the then owner of the estate. Although the plan fell through at that time, a monument was raised in front of the annexe.

During the unveiling ceremony, works by the Polish composer were played by Aleksander Michałowski, one of the leading pianist in the transmission of the Chopin pianistic tradition, Mily Balakirev, and the pianist and journalist Jan Kleczyński. The official programme featured a performance of Zygmunt Noskowski’s polonaise-style cantata On the Banks of the Utrata/ Nad Utratą, and the Lutnia choir sang vocal transcriptions of works by Chopin.

The Park – Monument. The rebuilt annexe of the Skarbek family estate was to be the centerpiece of a modernist park-monument designed by Franciszek Krzywda-Polkowski, founder and head of the Parks and Landscape Architecture Department of the Warsaw University of Life Sciences, who broke with the idea of an idyllic garden detached from the context of the surrounding Mazovian landscape. The modernist character of the design was manifest in the treatment of the park as a closed, individual work of art, characterized by the geometrisation and rhythmisation of the spatial elements such as architectural features, paths and avenues. Their composition with the flora, laid out in a free and picturesque way, indicates the character of a landscape park.

The Park Monument at Żelazowa Wola
The Park – Monument in Żelazowa Wola

The work on laying out The Park – Monument began in the early spring of 1933. In many places the lie of the land was altered mostly new flora was planted, not all of it native to Poland, and paths and avenues were marked out, including the road leading from the new gate to the Chopin’s birthplace. Terraces, steps and bridge were built, the River Utrata was regulate, water bodies were created and architectural features were raised, like bowers, rain shelters, a pergola and a summer concert stage. The 1894 monument was moved from in front of the annexe to the western part of the park, and in its place a pool was created, in which the annexe’s façade is reflected. The work was completed in December 1937.

Skarbek family estate in Żelazowa Wola
Remains of the Skarbek family estate in Żelazowa Wola

The decision not to recreate the surroundings of the annexe from Chopin’s times gave rise to numerous polemics in that times. Opponents of the modern vision argued that a garden typical of the impoverished gentry of the period ought to be created around the composer’s birthplace. That argument was countered with notions of the revolutionary and innovative character of Chopin’s music, which should be reflected in a bold design. Finally, the revolutionary vision was realized.

The latest archaeological research revealed that the annexe in which Chopin was born stood opposite the larger building referred to in documents as the Old Manor – probably the only residential building besides the annexe on the Skarbek’s estate.

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Detailed information is derived from the New Display at the Birthplace of Fryderyk Chopin in Żelazowa Wola, 2015

 

Gallery:

Żelazowa Wola Chopin. Memory and musical landscapes

Reference:

http://chopin.museum/en/museum/zelazowa_wola/id/757

http://pl.chopin.nifc.pl/chopin/persons/detail/id/6748

http://bazawiedzy.chopin2010.pl/en/people/wszystkie-osoby/entry/4043-bialoblocki-jan.html

Related article:
Chopin. Memory and musical landscapes, part I. People and objects. Music, memory mediums and emotions.

The Great War and Its Landscapes Between Memory and Oblivion: the Case of Prisoners of War Camps in Tuchola and Czersk, Poland

The Great War and Its Landscapes Between Memory and Oblivion: the Case of Prisoners of War Camps in Tuchola and Czersk, Poland

Dawid Kobiałka, Mikołaj Kostyrko, Kornelia Kajda


Abstract

Many sites related to the First World War are forgotten and neglected in today’s Poland. This paper shortly presents the ways of practicing “conflict archaeology” in Poland and it discusses results of the non-invasive archaeological survey conducted in Tuchola and Czersk, places where during the First World War Germans built and run prisoners of war camps. In the article the material remains of the camps that have survived in the local landscapes till the present are analyzed. Both sites are at the same time remembered and forgotten by local communities. This paper tries to account for oblivion as an inherent part of local landscapes that adds a unique value to them.

Prisoners of War Camps structures in Tuchola Poland
Contemporary landscape of the former PoW camp in Tuchola: an integration of different types of data. Photo by Dawid Kobiałka, Drawing: Mikołaj Kostyrko
The Prisoners of War cemetery in Czersk. Photo by Dawid Kobiałka
The Prisoners of War cemetery in Czersk. Photo by Dawid Kobiałka

 

The full article available at SpringerLink International Journal of Historical Archaeology

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Reusing the abstract under the Springer License

All photos published with the Authors’ permission.