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Musical transgressions and the culture of the collection – inspirations from Cyprian Norwid’s poetry in the work of Gaba Kulka
Abstract
Article presents an analysis of the stages of the artist’s work, the thematic and formal experiments she carried out. One of them is an attempt at a musical interpretation of Norwid’s poetry, discussed on the example of the songs “Marionetki”, “Italiam! Italiam!”, “Czemunie w chórze?”, “Królewstwo” and “Sariusz”. Gaba Kulka is an artist whose work has a transmedia character – in the sense proposed by Henry Jenkins, it fits into the progressive pop trend. The songs the artist sings are „texts of culture”, which – as Eco noted – is collectible. Musical interpretation is therefore an act of consolidating one’s position as a creator. Kulka uses various forms of artistic communication, creates narratives, discovers new aspects of musical storytelling (palimpsestivity), which significantly influence the understanding/perception of the world. In addition to the poetic and literary element, her compositions also contain inspirations from other fields of art (painting, film, classical music). Under the influence of the semantic diversity of the artist’s work, a new aesthetic quality is created – melancholic beauty, among others. In this way, Kulka comes closer to the generational experiences of Polish romantics. Her artistry and willingness to cross musical boundaries are revealed in the songs she performs. Her interpretation is completely empathetic and intimate. The artist combines various styles, creates a musical palimpsest into which she easily incorporates Norwid’s allegorical poetry.
Keywords:
Gaba Kulka, Norwid, poetry, palimpsest, contemporary culture, transgressivity, intertextualityDetails
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
