5979895853

In my speech I will deal with the phenomenon of the development of the dance fonn of a solo performance, which spread with the evolution and expansion of a new form of art which was contemporary dance in Poland after regaining independence in the interwar period. Solo then became a way to find the identity of the art of dance. but to find it in the context of the national and community identity being built again in the regained independent Polish State. An important element in building this identity was the scenie use of national dances, which have sińce become a constant inspiralion for artists of artistic dance. Tracking the development of this form of contemporary dance shows its importance in shaping the contemporary (at different historical moments) subjectivity of the artist, as well as the manner of participation of the dancing subject in the community, and the types of bonds that the soloist makes in her/his work. Despite the emphasis on individuality, solo is a relational form. Each solo though dependent on individualism exists (it is crcatcd and performed) in a specific social context. Challenging the autonomy of genius and the crisis of individual subjectivity sets the context in the spotlight, therefore solo is the best seismograph of culturally, socially and politically changes. According to Roland Barthes, “The text is a tissue of quotations drawn from the innumerable centres of culture”; result is the transformation of an autonomous genius into a kind of "chronicler", which is a socially and historically conditioned subject. The famous "death of the author" follows, resulting in the birth of consciousness and the inerease in the importance of the context. A paradoxical situation arises. As Blondel Cummings used to say, "there is something like this in the process of solo choreography, like centering", because solo is essentially always in relation to the viewer, in relation to what is outside of her / his center. And Rebecca Brandstetter adds firmly: "Solo does not exist for itself. Not even in this case when authorship and performance are embodied in one person. The soloist exists by others and for others".

***

Piotr Majewski (Warszawa, UKSW, NIMOZ)

Ochrona narodow ego dziedzictwa, restytucja pamięci - muzea w Polsce 1918-2018.

National Heritage: Protection, Restitution and Memorising (Museums in Poland 1918-2018).

Celem referatu jest spojrzenie na doświadczenie stulecia polskiej państwowości jako na czas funkcjonowania systemu ochrony narodowego dziedzictwa, w szczególności - muzeów, czyli instytucji kultury, którym prawnie i aksjologicznie przypisana jest troska o pamięć oraz jej materialną substancję. Referat uwzględnia historyczne tło, kreśląc „oś'* między doświadczeniem Międzywojnia, biegnącą przez czas destrukcji muzealiów' i ludzi, jakim była II wojna światowa,

18