Zakopane – miasto żywej tradycji i nowoczesności
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This article aims to present Zakopane as a city where tradition meets modernity – where what is local meets the global village. For two centuries This Polish Piemont has been one of the most important and dynamic centers of Polish culture. Today, this city, which is Poland‟s highest, is one of the best known and most frequently visited all-year-round tourist destinations. It attracts visitors with its beautiful natural sites and its unique atmosphere where authentic mountaineer folk culture, the less accessible elite and bohemian art, together with the religious phenomena around the person of John-Paul II coexist. Thus, it is beyond doubt a place of diversity, a city which, to use Tagg‟s expression, is not one. We should regard it as a complex space of meanings, activities and interactions, social relations as well as a space of power, marked by an incessant struggle for meaning. This is why, following Shields, the author wishes to approach it using multidimensional analysis and dialogical representations, the aim of which is not synthesis or overcoming contradictions, but celebrating the diversity of contradictory, heterogeneous discourses. “One cannot remain neutral towards Zakopane and highlander music”, said Karol Szymanowski, “one either loves it or hates it”. The supermarket of culture of Zakopane attracts by the multiplicity of colors, but at the same time, the consumption of cultural goods in this melting pot does not have to, and usually does not, exclude preserving one‟s own culture. At the same time, in this marketplace of diversity, we witness a deconstruction of oppositions: authentic/stylized, traditional/modern, folk culture/pop culture, leisure/culture, entertainment/art, mass production/uniqueness, global market/niche market, for sale/ priceless, superficial/profound, Zakopane for the tourists/Zakopane for mountaineers and “the initiated”. In this Zakopane, one can see, as through a magnifying glass, different categories of cultural phenomena, those of today, but also those that are already becoming past. Does this coexistence of tradition and modernity make it a post modern city, a kaleidoscope set towards the past or a city of tradition striving to be postmodern?
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