Dożynki is an annual harvest festival celebrated in Poland around the turn of August and September that dates back maybe even to the ancient times. To majority of acclaimed historic Polish folklorists, researchers, and poets, such as Oskar Kolberg, Zygmunt Gloger, Ignacy Krasicki, Józef Ignacy Kraszewski, and numerous others, it’s been more than clear that dożynki hold many remnants of a pre-Christian feast of fertility and crops, dedicated to gods of prolificacy, celebrated in rural communities over the centuries ever since the pagan times and eventually syncretized with Christianity.
You might’ve already heard about that festival under the name of dozhinki (how it is very often spelled in the English language). Remnants of that mysterious Slavic festival survived in all Slavic countries under many similar names in local forms of harvest festivities. In Poland it’s been known also under names of wyżynki, obżynki (these two along with the name of dożynki are related to the word żeniec – old Polish word for a reaper), okrężne (from okrężny – roundabout, coming from a custom of ritual encircling of the crop fields), wieńcowe, wieńczyny (from wieniec – wreath or garland), and other regional names that could also be used separately to describe certain parts or rituals performed during that festival.
etymology: coming from Proto-Slavic *čьrnъ, from earlier *čьrxnъ < *kьršnъ, from Proto-Balto-Slavic *kiršnas, from Proto-Indo-European *kr̥snós (black) [wiktionary]
the above root for the color black is pretty much consistent across all Slavic languages
also called: kary (used only to describe the color of horses) and wrony (used to describe colors of other animals, today rarely in use)
‘Girl in Red’ by artist Jacek Malczewski (1855-1929). Source: sztuka.agraart.pl
This is going to be a series of articles describing the symbolism of colors in Polish folklore. Red seems to me to be an obvious choice for a start of the series – it’s among the most magickal colors, popular for example in regional clothing, protective charms and jewellery.
First, a bit of vocabulary and related etymology facts for the curious, you can skip these few points to go to the text below right away:
etymology: derived from czerw (larva, maggot, brood), precisely from Polish cochineal, a scale insect that used to be the main source for crimson dye in parts parts of Eurasia, and was one of main export products of the Kingdom of Poland in 15th and 16th centuries
the word “czerw” itself came from from Proto-Slavic *čьrvь, that in turn came from Proto-Indo-European *kʷr̥mis meaning a worm [wictionary]
the Polish cochineal gave also the name for the Polish name of June: czerwiec. It is the month when the Polish cochineals used to be harvested for the dye, before reaching maturity.
in the old-Polish language the color red was also called krasny
This custom was a part of Slavic spring celebrations, appearing during various festivals and rituals throughout the spring season in Poland and in many other Slavic countries. Gaik usually appears as a small tree or a branch (most often a local type of a conifer tree, or a birch tree) decorated with colorful ribbons and other adornments, depending on the occasion (for example trinkets, flowers and bells, or colorful pisanki made on emptied eggshells hanging from the branches). Gaik is known under many different regional names in Poland, and you can find it under numerous names such as: gaj, goik, gaiczek, maj, maik, mojik, sad, nowe lato, nowe latko, turzyce.
A painted house in the village of Zalipie, southern Poland. Source: Małopolska.pl Fb Page
Many of you might’ve already heard about Zalipie, a small village in southern Poland where an old custom still survives nowadays: houses are decorated in rich flowery patterns both on the inside and outside. Today I want to describe a short history of that custom for you, and also to show a few examples of similar decorative folk art in the other regions of Poland from the past. Painting the interiors of cottages – and in rarer cases the exteriors as well – is an old tradition known from many rural regions of the Eastern and Central European countries, including Poland. In a lot of documented historical cases from around 100 years ago the painted patterns were rather simple in form and their meaning was connected to the forgotten protective rites.
Sabbath, reproduction of a lost artwork by Stanisław Ignacy Witkiewicz [source]
Wigilia dnia św. Łucji, noc czarownic – the Eve of St. Lucia Day (the night between the 12th/13th December), ‘the night of the witches’.
In the Polish folk beliefs the night preceding St. Lucia Day (the evening of 12th December) was traditionally believed to be a night of the witches’ gathering, a ‘boundary’ time when the earthly and otherworldly realms are getting much closer. It used to be commonly known as the ‘night of the witches’.
Snowstorms are a sign of the witches fighting for the power: for the leading role during the upcoming year. They are also coming close to the human settlements and it is extremely dangerous for both the people and the livestock to be outside on that night. It was forbidden for the kids or the young maidens to go out – the highlanders believed that they might get stolen. Mothers protected their newborns, often staying awake by their cradles for the whole night: their infant might be stolen and replaced with an odmieniec (changeling).
People feared also that the witches could throw charms on their cattle: for example cows might cease to give milk (which is the main food resource among many highlanders, used for producing cream, butter and cheese that are vital for survival during the winter season). People protected their wood: if some planks were stolen, they believed that the witches would later use them to cast dangerous spells during the Christmas night.
People believed that the places of the witches’ meetings on that night are certain geological points of unique features. For example, it could be a place where three streams are coming together (as believed in the village of Sołonka) or a clear-cut edge of a forest. It could also be a location where borders between certain clearly designated areas are relatively close to each other, like a field between two villages that are located not far one from another.
People protected themselves in many ways. It was common to fasten thorns and protective herbs to the doorsteps of the houses and to the tresholds to the barns, and inside the buildings. It was extremely important to remember what kinds of herbs and in which locations did one leave the bundles: if there was something new, it meant a witch had sneaked into the property and left a cursed bouquet. In some areas the cattle was ‘bathed’ in smoke from garlands that had been blessed on the Day of the Divine Mother of Herbs earlier that year. Wise men and wise women were whispering calming speels to the ears of the livestock.
Those beliefs were found among Polish villagers from numerous regions across Poland, but they were particularly vivid in the culture of the regions north to the ranges of the Tatra Mountains and some parts of the Beskidy Mountains, and a lot of tales about that special night survived in the folktales of the highlanders from the northern slopes of Babia Góra (meaning literally: Mountain of the Crones). Most of the Polish Górale (higlanders) living in those mountainous parts of southern Poland had a particularly strong belief in the ‘night of the witches’, shaped quite literally by the local geographical conditions. That night marked the time when the Sun starts sinking so low above the horizon that it hides behind the local mountains quite early in the afternoon and makes the night much longer for the local highlanders this way.
The next day – 13th December – was seen as the best for divinations. For example, in many villages young girls were ripping off a cherry branch and putting it into a vase in their rooms. If the branch bloomed by the beginning of January, it was a good sign for the upcoming year: designating a marriage, prosperity or general success. The 12 days until Christmas were closely observed: each day predicted events or weather for a respective month in the upcoming year.
People in the old Polish countryside were very particular about maintaining certain rites and preparing protective accessories in their household and the whole farm enclosure. These customs stemmed from pre-Christian Slavic protective rituals, and – despite the centuries of influence of the Christian church – they survived in continuity for as long as the early 20th century in many parts of the rural Poland.
The following informations I’ve translated for you are describing the old protective customs from the historical region of Mazowsze (Eng: Mazovia) located in the north-east parts of the central Poland. The same or very similar customs are common in other regions of Poland, as well as in many other Slavic countries.
Wreaths and other hair ornaments made of flowers and herbs are an essential part of many of the Polish rural customs. Athough most of the customs became almost extinct on the course of the 20th-century modernization of the society, and are preserved mostly in local ethnography museums, there are still certain festivals bearing remnants to the pre-Christian Slavic rites still alive within the Polish culture nowadays. The bridal flower crowns are among the customs that faded away – but can be still spotted around, for example on reenactments of the traditional weddings by various ethnography organizations, in art and culture (including e.g. theatre or cinema), or on some rather rare occasions of weddings when the bride decides to wear a traditional Polish garment instead of the modern white dress.
This post is going to be more of a gallery with examples of the traditional flower crowns of the brides wearing the traditional Polish folk costumes, but of course I’m not leaving it here without at least a bit of the essential informations about this custom for you. Before I start, keep also in mind that the custom shared a lot of common elements coming from the same old Slavic roots – these are the elements I’ll try to describe – but naturally had a lot of regional flavours and differences.
In the old times there were no Christmas trees in the Polish houses. They became widespread only in the first half of the 20th century, but were not in use in most of the rural households of the central, southern or eastern Poland as late as before the World War 2. At first, the decorated Christmas trees started coming to the Polish houses around the late 18th century, first appearing in the houses of protestants, and then being adopted by the Polish townspeople and the upper classes. Eventually, the Christmas Trees came with so-called ‘commercialization’ of Christmas in the 20th century – just like in the other countries celebrating the holidays around the world. What did the Polish people prepare to decorate their houses before that?
Lamus Dworski 