Academic literature on the topic 'Klezmer music – Poland – Kraków'

Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.

A few puzzling features in the text of Figaro have been discussed for a very long time within the vast literature on this opera. Nevertheless there is little in the libretto that Lorenzo Da Ponte based on Beaumarchais's revolutionary play La Folle Journée, ou Le Mariage de Figaro, and in the music that Mozart then provided for it, which is really problematical. After all, almost the entirety of Mozart's long autograph score has come down to us, even though today Acts 1 and 2 are divided geographically from Acts 3 and 4 - the first two acts being in the Deutsche Staatsbibliothek, Berlin (DDR), and the last two (which left the Berlin library in World War II) being at present in the Biblioteka Jagiellońska at Kraków in Poland. (The whole autograph is fortunately accessible today.) It would seem that the only portions that have not come down to us in Mozart's handwriting are a couple of passages for recitative, and some of the supplementary wind parts for the last act's finale; we have these merely in the handwriting of copyists, included inter alia in scores made for early performances, or for sale in Vienna and other cities. Several of these copyists' scores will shortly be discussed here.

The aim of this paper is to compare of how two different festivals stimulate specific norms and perceptions, and therefore to present the way in which the visions of the festival cities are reproduced by the festival audience based on the axio-normative orders contained in the missions of the events. Based on the shared symbols and life strategies promoted by festivals, participants (re)build their identity which they manifest in chosen cultural practices. The article attempt to answer the following question: what is shared by festival-goers? Are the main motivations for participating in the vent due to shared musical tastes or also specific values and lifestyles, and consequently a common identity? It has been shown that the values promoted during festivals are declared by their organizers – they are present in the visual identification, seminars, workshops, etc. Festivals create their narratives based on symbols such as logos, attitude smartphones, or festival slogans which contain condensed axio-normative systems that create the boundaries of the community. It influencesthe behavior of festival goers: the city’s vision, ways of spending free time, and their identity. The places where the fieldwork was conducted were: “Henryk Rasiewicz National Festival of Unbreakable and Independent Songs in Kraków”, “Ostróda Reggae Festiva” in Ostróda, and the “Song of Our RootsFestival” in Jarosław.

Byron twierdził, że Manfred nie był przeznaczony na scenę, ale jego poemat dramatyczny był sporadycznie wystawiany w dziewiętnastowiecznym teatrze. W 1848 roku Robert Schumann zaadaptował poemat do wykonania scenicznego, skomponował uwerturę i muzykę incydentalną. Manfreda w wersji Schumanna wystawiono w warszawskim Teatrze Wielkim z Józefem Kotarbińskim, znanym aktorem, kierownikiem teatru i krytykiem, w roli głównej. Po realizacji rozgorzała gorąca debata w prasie. Główny spór dotyczył tego, czy „dramat metafizyczny” Byrona nadaje się na scenę i czy jest istotny dla polskiej publiczności końca XIX wieku. Celem niniejszego artykułu jest zbadanie głównych kwestii podejmowanych w tej debacie poprzez analizę recenzji tej realizacji w prasie warszawskiej. Ponieważ recenzje są z natury subiektywne, ich badanie ujawnia znacznie więcej preferencji literackich i teatralnych ich autorów niż informacji o samym spektaklu i daje wgląd we wczesne etapy rozwoju tzw. Młodej Polski, z naciskiem na indywidualizm i podmiotowość, zainteresowanie metafizyką i dominację liryzmu. Warszawskiego Manfreda z 1892 roku można więc uznać za próbę wprowadzenia do teatru wielkiej poezji romantycznej, torującej drogę teatralnym inscenizacjom polskiego dramatu romantycznego, który Kotarbiński miał wystawić jako dyrektor Teatru Miejskiego w Krakowie. Artykuł wpisuje się także w historię recepcji Byrona w Polsce. The 1892 Manfred in Warsaw Teatr Wielki Byron claimed that Manfred had not been intended for the stage, but his dramatic poem was occasionally produced in the nineteenth-century theatre. In 1848 Robert Schumann adapted the poem for stage performance, composing the Overture and incidental music. Schumann’s version of Manfred was staged in Warsaw Teatr Wielki, with Józef Kotarbiński, a well-known actor, theatre manager and critic as the protagonist. The production was followed by a heated debate in the press. The central controversy focused on whether Byron’s “metaphysical drama” was suitable for the stage and relevant for the late nineteenth-century Polish audience. The aim of this paper is to examine central issues in this debate by scrutinizing the press reviews of the Warsaw production. As the reviews are by their very nature subjective, their examination reveals much more about their authors’ literary and theatrical preferences than about the performance itself, and provides an insight in the early stages of the development of the so-called Young Poland movement (Młoda Polska), with its emphasis on individualism and subjectivity, interest in metaphysics, and prevalence of lyricism. The 1892 Manfred in Warsaw may be seen as an attempt at introducing great Romantic poetry in the theatre, paving the way for the theatre productions of Polish Romantic drama, which Kotarbiński was to stage as the manager of Teatr Miejski in Kraków. The article also contributes to the history of Byron’s reception in Poland.

1) Congreso/Congress: University of Rome "Roma Tre" (Department of Foreign Languages, Literatures and Cultures). International Conference: Terms and Terminology in the European Context, 23-24 October 2014 (Department of Foreign Languages, Literatures and Cultures, Via del Valco San Paolo, 19, Rome – ITALY). For queries regarding the congress please contact: ttec.roma3@gmail.com 2) Congreso/Congress: “XI Congreso Traducción, Texto e Interferencias” (UNIA, Baeza) Call for papers until 30 June 2014: http://www.uco.es/congresotraduccion/index.php?sec=home 3) Taller/Workshop: 4th International Workshop on Computational Terminology, CompuTerm 2014, COLING 2014 Workshop, 23rd or 24th August 2014, Dublin, Ireland, http://perso.limsi.fr/hamon/Computerm2014/ Submissions should follow the COLING 2014 instruction for authors (http://www.coling-2014.org/call-for-papers.php) and be formatted using the COLING 2014 stylefiles for latex, MS Word or LibreOffice (http://www.coling-2014.org/doc/coling2014.zip), with blind review and not exceeding 8 pages plus two extra pages for references. The PDF files will be submitted electronically at https://www.softconf.com/coling2014/WS-9/ 4) Congreso/Congress: 34th TRANSLATOR’S WEEK, 1st INTERNATIONAL TRANSLATION SYMPOSIUM (SIT), São Paulo State University (Unesp), September 22-26, 2014, São José do Rio Preto (Brazil). The official languages of the event are Portuguese, Spanish, English, Italian and French. Contact: Angélica (Comisión Organizadora), angelica@ibilce.unesp.br 5) Congreso/Congress: Cardiff University Postgraduate Conference, 27 May 14: “The Translator: Competence, Credentials, Creativity”. Keynote speaker: Professor Theo Hermans (UCL).The event is kindly supported by the University Graduate College and the European School of Languages, Politics and Translation. For queries, please contact the.translator.pg.conference@gmail.com. 6) Congreso/Congress: International Conference, 3rd T&R (Theories & Realities in Translation & wRiting) Forum. Organized by the University of Western Brittany, Brest (FRANCE), in collaboration with KU Leuven/Thomas More (Campus Antwerpen, BELGIUM), with the support of AFFUMT (Association française des formations universitaires aux métiers de la traduction) and the participation of Università Suor Orsola Benincasa (Naples, ITALY): “Traduire/écrire la science aujourd’hui - Translating/Writing Science Today” Please submit an abstract of approximately 300 words by 15 June 2014 to Jean-Yves Le Disez (jean-yves.ledisez@univ-brest.fr, Joanna Thornborrow joanna.thornborrow@univ-brest.fr and Winibert Segers (Winibert.Segers@kuleuven.be). For more information on previous events and the forthcoming conference : http://www.univ-brest.fr/TR, http://www.lessius.eu/TNR 7) Congreso/Congress: “The International Conference of Journals and Translation”, Jinan University, Guangzhou, CHINA, on 28-29 June 2014. The conference is hosted by the School of Foreign Studies, Jinan University, Guangzhou, CHINA. The official languages of the conference are English and Chinese. Contact information: Yan, Fangming（颜方明86-13751750040; Li, Zhiyu（李知宇86-13824451625. 8) Congreso/Conference: PACTE Group is organising two events on the subject of the didactics of translation. These events will be held at the Universitat Autònoma de Barcelona (SPAIN) in July 2014. SECOND INTERNATIONAL CONFERENCE ON RESEARCH INTO THE DIDACTICS OF TRANSLATION (8-9 July 2014). SECOND SPECIALIST SEMINAR ON THE DIDACTICS OF TRANSLATION (7 July 2014). Further information about the conference and the seminar: http://grupsderecerca.uab.cat/pacte/en/content/didtrad-2014 9) Simposio/Symposium: “Translation in Music” Symposium, held on 25-26 May 2014, and co-organized by the European School of Languages, Politics and Translation (Cardiff University). Please see the following website for details: www.cardiff.ac.uk/music/translationinmusic 10) Revistas/Journals: “The Journal of Intercultural Communication and Mediation”, “CULTUS Journal” www.cultusjournal.com Next Issue: Cultus7 : “Transcreation and the Professions” Call for papers (Issue 7, 2014): 9th June. Submission info at: www.cultusjournal.com Contact: David Katan, Interlinguistic Mediation/Translation and Interpretation Department of Humanities, University of the Salento (Lecce), via Taranto 35 - 73100 Lecce (ITALY), tel.+39 0832/294111. 11) Revistas/Journals: Invitation for Submissions (Vol. 3, 2014): Translation Spaces: A multidisciplinary, multimedia, and multilingual journal of translation, published annually by John Benjamins Publishing Company. Please consult our guidelines, and submit all manuscripts through the online submission and manuscript tracking site, indicating for which track and Board member the manuscript is to be addressed: (1) Translation, Globalization, and Communication Technology (Frank Austermühl); (2) Translation, Information, Culture, and Society (Gregory M. Shreve); (3) Translation, Government, Law and Policy (Michael Geist); (4) Translation, Computation, and Information (Sharon O’Brien); (5) Translation and Entertainment (Minako O’Hagan); (6) Translation, Commerce, and Economy (Keiran J. Dunne); and (7) Translation as an Object of Study (Ricardo Muñoz Martín). 12) Revistas/Journals: PR for Linguistica The editorial board of the peer reviewed journal Linguistica Antverpiensia NS-Themes in Translation Studies is happy to announce the launch of its new Open Journal format. LANS-TTS published 11 annual issues devoted to current themes in Translation Studies between 2002 and 2012, and will continue to publish annually on selected TS themes, but in open access, and can be downloaded from: ‪https://lans-tts.uantwerpen.be Its first digital issue is entitled “Research models and methods in legal translation”. It has been guest edited by Łucja Biel (University of Warsaw, POLAND) & Jan Engberg (Aarhus University, DENMARK). 13) Revistas/Journals: CALL FOR PAPERS The Yearbook of Phraseology would like to invite you to submit papers on the relationship between phraseology and translation. The Yearbook of Phraseology is published by Mouton de Gruyter (Berlin, Boston) and has already been indexed by many scientific databases. It has recently been added to the MLA International Bibliography. Our editorial board includes reknown linguists such as Dmitrij Dobrovol’kij (Moscow), Christiane Fellbaum (Princeton), Sylviane Granger (Louvain), Wolfgang Mieder (Vermont), Alison Wray (Cardiff) and others. We have also been able to rely on international experts for reviewing our submissions: Igor Mel’cuk, Doug Biber, Uli Heid, Barbara Wotjak, etc. The web page of the journal is: http://www.degruyter.com/view/serial/42771 For more information, please contact: Dr. Jean-Pierre Colson (Institut Marie Haps / Université catholique de Louvain), Yearbook of Phraseology / Editor. 14) Libros/Books: Peter Lang Oxford invites proposals for the book series: New Trends in Translation Studies (www.peterlang.com?newtrans). Series Editor: Jorge Díaz-Cintas (Director), Centre for Translation Studies (CenTraS), University College London (UK). Advisory Board: Susan Bassnett, University of Warwick, UK Lynne Bowker, University of Ottawa, Canada Frederic Chaume, Universitat Jaume I, Castellón, Spain Aline Remael, Artesis University College Antwerp, Belgium This series is based at the Centre for Translation Studies (CenTraS), University College London (www.ucl.ac.uk/centras). For more information, please contact Dr. Laurel Plapp, Commissioning Editor, Peter Lang Oxford, 52 St Giles, Oxford OX1 3LU (UK). Email: l.plapp@peterlang.com. Tel: 01865 514160. 15) Libros/Books: New book: Transfiction. Research into the realities of translation fiction, edited by Klaus Kaindl & Karlhienz Spitzl, Series: Benjamins Translation Library (BTL 110), ISSN: 0929-7316 16) Libros/Books: New book on classical Chinese literature and translation: CHAN, KELLY K.Y.: Ambivalence in poetry: Zhu Shuzhen, a classical Chinese poetess? http://www.amazon.com/Ambivalence-poetry-Shuzhen-classical-Chinese/dp/3639700791 17) Libros/Books: Nueva publicación de TRAMA: MARTÍ FERRIOL, JOSÉ LUIS: El método de traducción: doblaje y subtitulación frente a frente www.tenda.uji.es/pls/www/!GCPPA00.GCPPR0002?lg=CA&isbn=978-84-8021-940-2 18) Libros/Books: Piotr de Bończa Bukowski & Magda Heydel (Eds.), Anthology of Polish Translation Studies, published in Kraków (POLAND). For further details : http://www.wuj.pl/page,produkt,prodid,2184,strona,Polska_mysl_przekladoznawcza,katid,126.html. 19) Libros/Books: Nuevo libro: Nicolas Froeliger: Les noces de l’analogique et du numérique, París: Les Belles Lettres, 2014. 20) Libros/Books: New book on the reception of Italian Literature in Spain: CAMPS, Assumpta (2014). Traducción y recepción de la literatura italiana en España. Barcelona: Edicions UB. 21) Libros/Books: New book on the reception of Italian Literature in Spain: CAMPS, Assumpta (2014). Italia en la prensa periódica durante el franquismo. Barcelona: Edicions UB. 22) Cursos de verano/Summer Courses: EMUNI Ibn Tibbon Translation Studies Summer School, June 2014. Application is now open for the Ibn Tibbon Translation Studies Doctoral and Teacher Training Summer School, organized by University of Ljubljana (Slovenia), Boğaziçi University (Turkey), University of Turku and University of East Finland (Finland), University of Granada (Spain), and to be held at the University of Granada (Spain) in June 2014. The School is open to doctoral students, teachers of translation at the MA level, and other academics and professionals who are involved in research in Translation Studies. For more information, please visit: http://www.prevajalstvo.net/emuni-doctoral-summer-school http://tradinter.ugr.es/pages/emuni Or contact: emuni_summerschool@ugr.es 23) Cursos de verano/Summer Courses: Intensive Summer Course in Translation Technology, held by the Centre for Translation Studies at UCL, London (UK), in August 2014. This is open to professionals and teachers as well as students. Application deadline: 23rd May 2014 For more information, visit : www.ucl.ac.uk/centras/prof-courses/summer-translation/translation-tech-intensive To apply for a place, email Lindsay Bywood: lindsay.bywood.13@ucl.ac.uk 24) Cursos de verano/Summer Courses: The Nida School of Translation Studies 2014 Call for participants: The Nida School of Translation Studies ,2014 May 26 – June 6, 2014 San Pellegrino University Foundation Campus Misano Adriatico (Rimini), Italy “Translation as Interpretation” This year marks the Nida School’s eighth year of advancing research and providing specialized training in translation studies through a transdisciplinary approach that incorporates a focus on religious discourse. NSTS is seeking engaged scholars and qualified professionals looking to expand their skills, engage with peers, and explore the interface of practice and cutting edge theory. The NSTS 2014 Associate Application form may be found here: https://secure.jotform.us/mhemenway/nsts2014app. For more information on the 2014 session or to apply, go to http://nsts.fusp.it/nida-schools/nsts-2014, or contact Dr. Roy E. Ciampa at roy.ciampa@fusp.it. 25) Cursos de verano/Summer Courses: POSTCOLONIAL TRANSLATION STUDIES AND BEYOND: RESEARCHING TRANSLATION IN AFRICA - SUMMER SCHOOL FOR TRANSLATION STUDIES IN AFRICA The Departments of Linguistics and Language Practice at the University of the Free State, Afrikaans and Dutch at the University of Stellenbosch and Literature and Language at the University of Zambia, in cooperation with IATIS, are presenting the Third Summer School for Translation Studies (SSTSA) in Africa from 18 to 22 August 2014. The hosts are the University of Zambia in Lusaka. SSTSA 2014 will be followed by a regional conference hosted by IATIS at the same venue on 23 and 24 August 2014. For participants to SSTSA 2014, entry to the conference is free, provided they read a paper. For detailed information and registration forms, visit the website of the Summer School at: http://www.ufs.ac.za/SSTSA.

In the years 2006-2011, at the site Więckowice 4, rescue excavations were carried out in the eastern part of anextensive (over 15 ha) multicultural zone. The most numerous are the remains of the LBK settlement from the “music note” phase. The south-eastern part of the settlement was explored, discovering lines of building pits and post holes belonging to 3-4 longhouses. A particularly unique discovery was a fragment of a LBK vessel with powdered graphite preserved on the outer surface. In addition to the LBK ornament of engraved lines, it is decorated in a manner referring to the ornamentation of the Eastern Linear circle (Tiszadob-Kapušany group). The presence of graphite on the vessel wall has been confirmed by the results of SEM-EDS analyses. This is the first such find in Lesser Poland. To comprehensively address the cultural significance of this find we provide an upto-date overview of graphite usage in a wide range of LBK contexts.

Defence Date: 25/09/2009
Examining Board: Prof. Heinz-Gerhard Haupt (European University Institute) – supervisor; Prof. Joachim Schlör (University of Southampton) - external supervisor; Prof. Joanna Tokarska-Bakir (University of Warsaw); Prof. Philipp Ther (European University Institute)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The present study addresses the most important mediations of klezmer which have not been given attention in the existing scholarship, mapping new functions and meanings ascribed to klezmer music, the representations this particular music scene generates, the public debates it provokes and the dynamics of the social encounter between Jews and non-Jews that it enables.

With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“

Scholarship on the civilization of Polish Jews has tended to focus on elite culture and canonical literature. This volume focuses on the less explored theme of Jewish popular culture and shows how it blossomed into a complex expression of Jewish life. In addition to a range of articles on the period before the Second World War, there are studies of the traces of this culture in the contemporary world. The volume aims to develop a fresh understanding of Polish Jewish civilization in all its richness and variety. Subjects discussed in depth include klezmorim and Jewish recorded music; the development of Jewish theatre in Poland, theatrical parody, and the popular poet and performer Mordechai Gebirtig; Jewish postcards in Poland and Germany; the early Yiddish popular press in Galicia and cartoons in the Yiddish press; working-class libraries in inter-war Poland; the impact of the photographs of Roman Vishniac; contemporary Polish wooden figures of Jews; and the Kraków Jewish culture festival. In addition, a Polish Jewish popular song is traced to Sachsenhausen, the badkhn (wedding jester) is rediscovered in present-day Jerusalem, and Yiddish cabaret turns up in blues, rock ‘n’ roll, and reggae. There are also translations from the work of two writers previously unavailable in English. Space is given to new research into a variety of topics in Polish Jewish studies. The review section includes an important discussion of what should be done about the paintings in Sandomierz cathedral which represent an alleged ritual murder in the seventeenth century, and an examination of the ‘anti-Zionist’ campaign of 1968.

This chapter focuses on the east European Jewish professional instrumentalist, the klezmer, and his music. The earliest known use of klezmer as a term for a musician occurs in a Jewish community document from Kraków dating from 1595. The chapter assesses the status of klezmer music throughout the region of eastern Galicia from roughly the 1870s until 1936. It presents a series of interviews with Yermye (Jeremiah) Hescheles, who had been the kapel-mayster (bandleader) of the klezmer ensemble of Gline (Gliniany). Besides confirming certain data known from other sources, Hescheles' descriptions and explanations offer a unique synthesis of the various kinds of information about Galician klezmorim and klezmer music unavailable elsewhere.

This chapter offers an obituary for Leopold Kozłowski. It describes Leopold as the last klezmer, who died at the venerable age of 100 on 12 March. It recalls how Leopold spent several months in the labour camp at Kurowice, recounting how he taught a Nazi officer the accordion in exchange for food, and how the Nazis forced him to compose a “death tango” and play while other Jews were led to their deaths. It also mentions Leopold's survival from the labour camp and resettlement in Kraków, where he studied conducting at the Higher State Music School. The chapter notes Leopold's composition of music for films and the theatre, even acting in the film Schindler's List while serving as an adviser on the music of the ghetto. It highlights his performances in Poland, Europe, the United States, and Israel, which he continued until the end of his life.

This chapter focuses on the post-war fate of the Szpilmans, Bajgelmans, and Barshts, which are an extended family of professional Jewish instrumentalists that originated from Ostrowiec Swietokrzyski in Poland. It explores how the Szpilmans, Bajgelmans, and Barshts played important roles as performers and composers in genres as diverse as instrumental klezmer, jazz, chamber, symphonic music, Yiddish theatre, vaudeville, and Brazilian dance music. It also mentions Władysław Szpilman as the most famous family member, whose memoirs formed the basis of Roman Polanski's Oscar-winning film, The Pianist. The chapter provides an ethnography of elderly living musicians that became part of salvage ethno-musicology, cultural history, and genealogy. It looks into activities of professional Jewish musicians from klezmer families, whose work and experience expanded in a number of directions, especially during the second half of the nineteenth century.

The papal pilgrimages in the Cracow Archdiocese were always a huge challenge and a significant event for the faithful. Hence there is a need of basing the subject on a certain assumption. It suggests that the entire collected material on the subject, thus this study should refer not only to the music (compositions) as such but also to the people who cre-ated it, namely: music committees of the pope’s pilgrimages, composers commissioned by the Church, performing artists (scholae, choirs, orchestras, soloists, cantors, conductors). Naturally, we cannot forget about the faithful participating in prayers. Music, be an inte-gral part of solemn liturgy (SC 112) during the papal pilgrimages of: John Paul II, Benedict XVI and Pope Francis have been properly prepared and experienced both at liturgies and at other events. Pope John Paul II visited the Cracow Archdiocese in the following years: 1979 (Cracow, Kalwaria Zebrzydowska, Wadowice, Nowy Targ), 1983 (Kraków), 1987 (Kraków), 1991 (twice: Cracow in June and Cracow, Wadowice in August), 1997 (Cracow, Zakopane, Ludźmierz), 1999 (Cracow), 2002 (Cracow). Pope Benedict XVI came to Poland once in 2006, staying in Cracow and Wadowice. Pope Francis visited Poland on the World Youth Day in 2016. In total there were 10 papal visits to Cracow. This study presents only those which have been paid to Cracow since 199734