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Title
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Summary of articles; Noty o autorach / Polska Sztuka Ludowa - Konteksty 1998 t.52 z.1
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Description
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Polska Sztuka Ludowa - Konteksty 1998 t.52 z.1, s.103-104
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Date
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1998
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:2813
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Language
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pol.
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Publisher
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Instytut Sztuki PAN
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Relation
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oai:cyfrowaetnografia.pl:publication:3009
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Text
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SUMMARY OF ARTICLE
The recurring theme of this conversation with Krzysztof Czyżewski held
by Tadeusz Kornaś is the presence of folk tradition as an inspiration for
artistic, theatrical, and social undertakings. In 1978-1983, Krzysztof
Czyżewski was an actor in the Gardzienice theatre, conducted by
Włodzimierz Staniwewski. This troupe made excursions to villages and
regions distant from cultural centres, where it staged performances and sought
extant elements of past culture. Traditional culture was also one of the basic
fabrics constructing and inspiring the spectacles. Gusla (Magic Rites), based
on the second and fourth parts of Dziady (Forefathers' Eve) by Mickiewicz,
resorted to numerous motifs, songs and gestures which Gardzienice
encountered while travelling.
At present, Czyżewski conducts the „Borderland - arts, culture and
nations" centre in Sejny, a small town near the frontier with Lithuania. The
centre encourages assorted educational, artistic and cultural ventures. It also
publishes the quarterly „Krasnogruda" and organises interdisciplinary
meetings concerning, e. g. Bosnia, Bukowina, Transylvania, and the Romany
people.
The interview portrays the evolution of Czyzewski's attitude to
traditional culture - from na uncritical fascination with particular elements
(songs, tales) to a sui generis positivistic stance, discloced in involvement in
the social, political and cultural issues of entire regions.
In her article O n t h e n e e d f o r c o g n i t i o n by c o n t a c t w i t h
the s o u r c e s o f r e g i o n a l c u l t u r e . T h e a c t i v i t y o f t h e
B o r d e r l a n d s M u s i c F o u n d a t i o n and interviews with Monika
Mamińska
and Jan Bemad
(We wander across the Earth asking
questions), Beata
Wilgo siewie z attempts to present the activity of the
"Borderlands Music" Foundation (Fundacja „Muzyka Kresów"). Established
in Lublin in 1991, the Foundation (directed by Jan Bemad and Monika
Kamińska) joined the current of quests concerned with the possibilities,
purpose and trends of the continuation of folk tradition. Shaping their own
perception of this particular culture, the authors of the Foundation wish to
determine which of its elements remain important and vital for contemporary
man. Conferences on ethnomusicology and the spirituality of the nations of
East-Central Europe, the Continuation of Tradition programme, musical
workshops, concerts and assorted meetings aim at creating new forms of
a discussion on rural tradition and, thus, at a different presentation of that
world and its comprehension. The feature distinguishing the Foundation
pursuits from numerous proposals of dealing with folk culture is the question
concerning the manner of such activity and not its object. The Foundation is
concerned both with discovering keys which would make it possible to reach
those „lost" regions of the traditional rural world, and with the possibility of
its active cognition. Bemad and Mamińska envisage traditional culture as
a stand, together with ensuing questions about ultimate issues: birth, death,
illness, and fate.
The Braslav region - a Belorussian Province. Sketches from Symbolic
Culture. Articles by Magdalena Zowczak, Dorata Hall, Aleksandra Sulikowska, Krzysztof Cibor, Agnieszka Kaminska, Joanna Rak, Zuzanna Grebecka•Cwiek, Agnieszka Kirchner, Magdalena Radkowska, Dagmara Klosse, Krystyna Gieryszewska
After the collapse of the Soviet Union, the Braslav region in Belarus
became a periphery, cut off by state frontiers from former centres
guaranteeing employment: Daugavpils in Latvia and Ignalina in Lithuania.
The region in question is an eternal borderland, inhabited by assorted ethnic
and religious groups: Belorussians, both Catholic and Orthodox, Poles, Old
Rite Russians, Tatars, Lithuanians, Gypsies, and, before the war, Jews.
Cultural differences became obliterated by progressing homogeneity,
especially among the young generation. These processes are expressed to
a certain extent by a specific rigid metasymbolic of the followers of well
established faiths. The maxim: Boh adzin, tolko wier mnoha (There is one
God but many faiths), often repeated by the inhabitants of Vidzy (a small town
with a population of 3 000 - the main area of our research), signifies an actual
permeation of religions, formulated in the identification of analogous
elements of various rites, the borrowing of customs, and participation in
different cults. Numerous interlocutors were unable to describe themselves as
followers of a concrete creed. Such tendencies existed already in borderland
tradition of the past. Atheization (together with accompanying customs, e.g.
the dissemination of mixed marriages) reinforced attempts at a meta-religious
interpretation of faiths. The Boh adzin formula could, however, denote stands
different in each generation - the young use it frequently to express their
distance from an already unclear and inconvenient tradition. The line of
division between the believers (regardless of their faith) and „communists" the enemies of religion, appears to be growing less distinct; many of the latter
take part in religious practices.
The strongest feeling of identity among all the ethnic groups is represented
by the Old Rite community which was the only permitted access to its own
churches. The preserved old books and icons, the oldest originating in the
seventeenth century, are displayed both in churches and the homes of all the
faithful. Rituals associated with the icons testify to the vital prayer function
which they fulfil in the spirituality of the Vidzy congregation. A l l the icons
refer to the traditions of Old Russian painting (e.g. images of the Madonna
with die Young Christ include icons of the Madonna of Tekhvin, Vladimir,
Fiedorov, Kazan and Smolensk).
The stereotype of the alien is applied predominantly to the relatively few
representatives of new religious movements, such as Jehovah's Witnesses
and Baptists. The absence of own language and the supranational character
of these creeds contribute to their perception as „upside down" religions.
Extreme opinions include stories about child sacrifices (provoked by the
objections made by Jehovah's Witnesses to transfusion), convictions that
bloody sacrifices are the effect of rites which drive members of sects to
a state of frenzy, and the belief that the followers of new creeds trample
images of the Madonna and rosaries. Visions of satanic cults are
accompanied by those of a heavenly community, ruled by ideal harmony and
brotherhood, whose members speak a pure language, are familiar with the
Good Book, recite beautiful prayers, have the power to heal and observe rigid
moral principles.
Stories about miracles are dominated by the motif of punishment meted by
Providence, usually against the communists for the desecration of holy sites.
In accordance with the principles of reciprocity, the destruction of holy
images results in the loss of the perpetrators' legs, heads and fingers.
Miraculous penalty plays the role of a social sanction, renders the community
of the faithful cohesive, and „sets right" contaminated reality. Despite long
years of harsh atheization, the community of Vidzy continues to interpret
more important events as an expression of an intervention of the sacrum in
everyday life. Divine miracles, i . e. punishment and grace, are two opposite
and complementary aspects of the same hierophancy. This contrast is not
concurrent with a division into fascinosum and tremendum; the sacrum and
grace are equally terrifying. Punishment sometimes leads to conversion and
fulfils pedagogic functions while revelation, the sign of grace, becomes
awesome when the Mother of God whips sinners. Grace is devoid of the value
of proof, and is rarely witnessed by the non-believers. Experienced by the
worthy, it is conceived as a sign of the Kingdom of God on Earth, accessible
to the chosen only after death; on Earth, it exists as a foretoken and
a substitute in an unattractive and senseless mundane existence. The Vidzy
comprehension of miracles is close to the definition proposed by St.
Augustine and contemporary apologetics - a miracle is a dialogue between the
world and God, and is not compelled to seek dazzling forms.
The concept of the miracle is wider and encompasses also the supernatural,
which is not connected with the traditionally comprehended sacrum; it entails
all that is strange: wonders, meteorological and paramental phenomena, and
aliens from outer space. Researchers dealing with Russian religiosity maintain
that the effects of atheization include the formation of an eclectic
consciousness, associated with the concept of ..Christians in general", i . e.
believers who do not identify themselves with a concrete creed.
A characteristic trait of such attitudes is interest in Oriental religions,
spiritualism, parapsychology, mythology built around UFOs, etc. The vision
of the world held by the residents of Vidzy is also such a compilation, a typical
mixture of elements of magic and religion, with a tendency towards their
rationalisation by the mass media. The collapse of communism opened
a market for Western and local pop-culture. Previously, the press and
television, in their capacity as instruments of propaganda, were universally
available and free of charge; the habit of benefiting from them is connected
with susceptibility to media authorities. The recorded statements contain
a constant reference to the media, and the veracity of the contents expressed
by the interlocutors is legitimised by their press or television origin. The latter
is also regarded as the best source of entertainment, making it possible to
enjoy contact with ..heavenly reality" (South American television series);
thus, it becomes a sanctified profanum. This combination of activity from
various contexts is more radical than in Poland, e. g. a surgeon casts a spell on
a rose while a nurse-healer claims that her power comes from the Devil.
Diviners are frequently regarded as well-educated, and researchers, especially
American ones equipped with omniscient computers, enjoy great esteem.
Scientific achievements are, however, associated with Party meetings, held
behind closed doors, and conspiracies, in accordance with the traditional
comprehension of knowledge as magic, symbolised by the mythical black
book, the attribute of the sorcerer. Men of science appear to be the possessors
of a great secret, the only truth about each of us and the whole world. They
enjoy not only knowledge but also privileges, even those linked with the
looming predicted end of the world, and are engaged in constructing
a gigantic ship or space rocket which will enable them to survive the imminent
new deluge.
The popularisation of information about other planets and the Earth,
envisaged as a mere fragment of the universe, changed the image of space.
The traditional conception of the other world is associated with a very
concrete localisation of Hell, Heaven and Purgatory on other planets. Pseudorationalisation in reference to the religious sphere is an attempt at salvaging
the cohesion of the world. The reverse side of this process is the sanctification
of phenomena belonging to the category of the profanum. Religiosity, which
1
103
owing to the significance attached to the true images of the face of Christ. The
wish to benefit from the source of the sacrum is not only a trait of „folk"
culture, although within the latter it survived in a form least disturbed by
empiric attitudes and the culture of print. Authentic images remain on the
borderline of spiritual and sensual worlds, and resemble windows open to the
heavens above. The role of prayer is similar, and the frequently unskilful forms
of apocryphic „little prayers", recited with difficulty by people unacquainted
with the technology of the word, retain this fundamental religious function.To
attain this goal, they resort to the imagery of a conciliation of worlds,
a temporary unification of Heaven and Earth at a moment of teophany
expressed in motionlessness, as well as a transition into the other world and the
wanderings of divine words in a reverse direction, towards the Earth.
A characteristic feature of folk prayers is a mosaic-like pattern of fragments of
texts which frequenfly contain the most capacious schemes of Old Polish
songs. The mystical symbolic, palpable „undemeath" the literal meanings of
the words, borders with „sensualistic" images of the Madonna carrying the
cross or emerging from the Gospel. Folk prayers interpreted in this manner are
a religious measure of expression, a realisation of old religious patterns.
constituted a cohesive image of reality, now protects it against disintegration,
but itself succumbs to profound metamorphosis.
Religious-magical techniques flourish in the conditions of Belorussian
neo-feudalism in which it is difficult to plan anything in a rational manner.
Traditional institutions are still sought out: the advice of healers or the
protective power of objects consecrated in church (especially the St. Agatha
bread and herbs). The religious culture of Vidzy combines religious and magic
stands, which in practice are inseparable.The second of the two is expressed
in the „at home" administration of the sacrament of baptism, even to the
deceased, or in treating sacraments and sacramentalia as medicinal measures,
e.g. christening as a cure against epilepsy. The magic employment of religious
rites is accompanied by an attitude of religious humility and the acceptance of
divine will. It seems worth to draw attention to the links between sacraments
and spells. Sacraments are considered as ex definitione established by Christ,
and their essence is the word; according to universally held convictions,
prayers with medicinal properties are the true words of Christ. Several such
texts (the majority of which functions also in Lithuania) were recorded in the
region of Braslav.
The ethnographer does not have at his disposal instruments which would
permit him to examine the range of religious experience but he is able of
indicating assorted ways in which such texts function, and different
possibilities of interpreting them within the same culture. Folk prayers, which
survived despite the inimical attitude of the Church, to say the least, and,
generally speaking, outside the Church, appear to be a suitable object for
a presentation of such variegated significance. They are simultaneously magic
formulas or at least possess features of magic spells. This property is due to
the very nature of oral transmission, which applies mnemotechnical measures
and grants words a specific existence; the other reason could be described as
mystical (understood as a technique aiming at the attainment of direct
religious experience). A particular feature of folk prayer is the fact that it is
legitimised as a holy text by direct reference to the source of the sacrum; this
is why such a prayer is usually expressed in the words of the Lord Jesus
(Mother of God) or as a letter written directly in Heaven. The power of holy
words is associated with their supernatural origin, understood literally. The
living, i. e. holy words must come from the very source of power, and hence,
similarly to the Gospel, they carry the injunction of their transition to other
people, although only letters by Jesus, a sui generis interpretation of the
Decalogue, do so under the threat of terrible divine punishment. In the
religious context, the concepts of an original, a copy, and especially
plagiarism lose their sense. The scheme of recognised revelation becomes
universal property. The rewriting of holy .words and the attachment of
supernatural powers to them do not have to be the expression of a magical
attitude. Such behaviour is analogous to the veneration of miraculous images
and their copies, universal in religious culture, including that of the Eastern
rite Church. Neither Abgar, king of Edessa, nor Veronica were historical
figures but they function in the religious tradition recognised by the Church
Danuta Kuźnicka
Deconstructivist Strategies in Polish Stagings
For the past twenty years, at the very least, the Polish contemporary
theatre presented stagings in which the mechanism of the functioning of
meanings appears to resemble some of the deconstructivist categories
described by Jacques Derrida. Deconstructivist ..strategies", which the article
refers to stagings proposed by e. g. Jerzy Grzegorzewski, Leszek Mądzik and
Krystian Lupa, denote an obliteration of the cohesion of the work and its
uniformity, the undermining of the opposition, emphasis on the part played by
margins, and the leaving of the meanings non-enforced and the context open. Other features include the multiple functions of „non-resolving" objects
as well as intertextuality and associated accents on the process-like aspect of
the staging.
In numerous spectacles, the described strategies are counterbalanced by
an emergent uniformity of the work, which produces inspiring tension
between the disintegrated image of the world, suggested by deconstuctivism,
and uniformity which, together with cohesion, forms the foundations of wellordered reality.
Bronisław Malinowski
A Diary
This issue inaugurates the publication of the early diares kept by the
renowned anthropologist Bronisław Malinowski. The diaries are preceded by
an introduction by Grażyna Kubica-Heller and two texts - by Maria Ossowska
and Clifford Geertz - discussing the diaries, written only in English during
field research conducted on the Trobriand Islands - 'The Diary in the Strict
Sense of the Term".
NOTY O AUTORACH
Jan Bernad - w latach 1974-76 współpracował ze Stanisławem Ścierskim
przy realizacji stażów parateatralnych w Teatrze Laboratorium. W 1977
był w grupie powołującej Teatr „Gardzienice". Po odejściu z „Gardzienic" w 1984 do 1990 realizował przedsięwzięcia odwołujące się do kul
tur tradycyjnych. W 1991 wraz z Moniką Mamińską powołał Fundację
„Muzyka Kresów". Pełni funkcję dyrektora Os'rodka Badań Muzykolo
gicznych i Kulturowych Europy Środkowo-Wschodniej powołanego przy
Fundacji.
Tadeusz Chrzanowski - profesor historii sztuki; wykładowca na KUL-u,
UJ oraz pracował w Katalogu Zabytków w IS PAN. Autor m.in. takich
książek jak Wędrówki po sarmacji europejskiej. Eseje o sztuce i kulturze
staropolskiej (1988), Sztuka w Polsce Piastów i Jagiellonów (1993).
Współautor Katalogu Zabytków Sztuki w Polsce.
Krzysztof Cibor - student KEiAK UW.
Krzysztof Czyżewski - polonista (studia UAM), jeden ze współtwórców
„Gardzienic", współzałożyciel w stanie wojennym „Czasu Kultury", au
tor wielu inicjatyw związanych z teatrem, dyrektor Os'rodka „Pogranicze
- sztuk, kultur, narodów" (Sejny, od 1991), redaktor naczelny „Krasnogródy". Laureat m.in. Nagrody POLCUL Foundation, Nagrody Arty
stycznej Młodych im. S. Wyspiańskiego, Nagrody paryskiej „Kultury" za
rok 1996.
Clifford Geertz - profesor antropologii w Instytute for Advanced Study,
Princeton (New Jersey). Jeden z najwybitniejszych antropologów swojej
generacji w USA. Autor m.in. tak znaczących książek, jak The Interpre
tation ofCultur, Local Knowledge i Works and Lives. The Anthropologist
as Author.
Krystyna Gieryszewska - etnolog, pracuje w KEiAK UW.
Zuzanna Grębecka-Cwiek - studentka KEiAK UW.
.
Dorota Hall - studentka KEiAK UW.
Angieszka Kamińska - studentka KEiAK UW.
**\
f BIBLIOTEKA
fj
Agnieszka Kirchner - studentka KEiAK UW.
Dagmara Klosse - studentka KEiAK UW.
Tadeusz Kornaś - teatrolog (studia na Wydziale Wiedzy o Teatrze warszaw
skiej PWST). Publikował m.in. w „Teatrze", „Didaskaliach", „Dialogu".
Mieszka w Krakowie.
Grażyna Kubicka-Heller - jest pracownikiem Zakładu Antropologii w Insytucie Socjologii UJ. Jest autorką książki Luteranie na Śląsku Cieszyńskim
oraz współredaktorką tomu Malinowski Between Two Worlds, CUP 1988.
Interesuje się problematyką mniejszości religijnych oraz biografią i twór
czością Bronisława Malinowskiego. Mieszka w Krakowie i Ustroniu.
Danuta Kuźnicka - adiunkt w Instytucie Sztuki PAN, wykładowca w Aka
demii Teatralnej w Warszawie i w Szkole Nauk Humanistycznych. Zaj
muje się teatrem plastycznym i teorią teatru.
Monika Mamińską - studia na KUL-u (filozofia teoretyczna, polonistyka);
od 1991 roku pracuje wspólnie z Janem Bernadem w Fundacji „Muzyka
Kresów" w Lublinie. Mieszka w Radiomiu.
Maria Ossowka - (1896-1974)-teoretyk moralności i socjolog. Autorka m.in.
takich książek jak Podstawy nauki o moralności (1947), Moralność mie
szczańska (1956), Socjologia moralności (1963), Normy moralne (1970).
Joanna Rak - studentka KEiAK UW.
Magdalena Radkowska - studentka KEiAK UW.
Aleksandra Sulikowska - studentka historii sztuki UW.
Beata Wilgosiewicz - absolwentka filologi polskiej (UAM Poznań) i Pody
plomowego Studium Etnografii (UMK Toruń). W latach 1991-94 praco
wała w Os'rodku „Pogranicze - sztuk, kultur, narodów" w Sejnach. Obe
cnie jest doktorantką SNS przy PAN w Warszawie. Zajmuje się współcze
snymi odwołaniami do tradycyjnej kultury ludowej.
Magdalena Zowczak - etnolog, zajmuje się zagadnieniami z pogranicza hi
storii sztuki, formami życia religijnego wsi, kulturą duchową. Adiunkt
w KEiAK UW. Autorka książki Bohater wsi. Mit i stereotypy (1991).
W poprzednich numerach
- Kulturze naszych wschodnich sąsiadów poświęcone były w całości następujące numery „Kontekstów"
Litwa nr 3-4/1993, Ukraina i Grodzieńszczyzna nr 3-4/1996
- Problematyka antropologii teatru i powrotu do źródeł pojawiała się w numerach 3-4/1991, 2/1993
oraz 2/1995
- W roku 1997 nr 1-2; 3^1 rozpoczęliśmy druk materiałów dotyczących Bronisława Malinowskiego:
m.in. korespondencję z Żoną, list z Londynu do Anieli Zagórskiej oraz krytycznych materiałów dotyczą
cych jego osoby i pracy.
WARUNKI P R E N U M E R A T Y
1.
Wpłaty na prenumeratę prowadzoną przez „Ruch" przyjmowane są na okresy kwartalne.
Cena prenumeraty wynosi 4,50 zł za numer. Prenumerata ze zleceniem dostawy za granicę jest o 100% droższa. Wpłaty na prenu
meratę przyjmują:
- na terenie kraju - jednostki kolportażowe
„ R u c h " ; istnieje r ó w n i e ż m o ż l i w o ś ć prenumeraty
„pod
opaską".
Wpłaty od osób i instytucji z miejscowości, w których nie ma jednostek kolportażu „Ruch" należy wnosić do
Ruch SA Oddz. W-wa, ul. Towarowa 28, konto jak niżej:
- na zagranicę
-
Z a k ł a d Kolportażu Prasy i Wydawnictw 00-958 Warszawa, konto P B K SA, X I I I Oddział
W-wa 11101053-16-551-2700-1-67.
Dostawa zamówione prasy następuje:
- przez jednostki kolportażowe „Ruch" - w sposób uzgodniony z zamawiającym.
- przez urzędy pocztowe - pocztą zwykłą na wskazany adres, w ramach opłaconej prenumeraty z wyjątkiem zlecenie dostawy
na zagranicę pocztą lotniczą do odbiorcy zagranicznego, której koszt w pełni pokrywa prenumerator.
Terminy przyjmowania prenumeraty na kraj i zagranicę - do 20 X I na I kwartał roku następnego, do 20 I I - na I I kwartał, do 20
V na I I I kwartał, do 20 V I I I na I V kwartał.
2. Prenumeratę „Kontekstów" prowadzi także firma A M O S , Warszawa, ul. Zuga 12, 01-806 Warszawa (tel. 34 65 21). Wpłaty na okre
sy półroczne (dwa zeszyty lub jeden podwójny) i roczne przyjmowane są na konto:
A M O S , V I I I Oddział PKO BP, Warszawa Nr 10201084-77578-270-1-111.
3. Cena prenumeraty rocznej przez „Ruch" lub AMOS wynosi 18 zł. Prenumerata za półrocze: 9 zł; numer pojedynczy 4,50 zł.
4. Zeszyty bieżące oraz niektóre dawne można kupować w Instytucie Sztuki PAN, Warszawa, ul. Długa 28 (hall)
5. Prenumerata zapewnia otrzymywanie pisma w cenie wyżej podanej, niezależnie od tego, o ile droższy będzie w sprzedaży numer.
Wydawnictwo Instytutu Sztuki Polskiej Akademii Nauk, publikuje książki i czasopisma z zakresu sztuki, teatru, filmu,
muzyki, folkloru
Stałą sprzedażą książek i czasopism Wydawnictwa IS PAN, prowadzi
Dział Wydawnictw Instytutu Sztuki 00-950 W-wa, ul. Długa 28. tel. 831-32-71 do 79 w. 274, 258
oraz następujące księgarnie:
Gdańsk
Gdańska Księgarnia Naukowa, Łagiewniki 56
Kraków
Antykwariat „Bibliofil", Szpitalna 19
Księgarnia Akademicka, ul. Anny 6
Księgarnia Naukowa „Elefant", ul. Podwale 6
Łódź
Księgarnia Ossolineum, Piotrkowska 181
Poznań
Bestseller, Wrocławska 16
Księgarnia Koala, Ratajczaka 39
Księgarnia Uniwersytecka, Zwierzyniecka 7
Szczecin
Księgarnia Literacka „Ossolineum"
ul Gen. Sikorskiego 7
Warszawa
Główna Księgarnia Naukowa im. Bolesława Prusa
Krakowskiego Przedmieście 7
Księgarnia ORPAN, Pałac Kultury i Nauki
Księgarnia ORPAN BIS, ul. Twarda 51/55
S.C. Księgarnia Ossolineum „Litera"
ul. Jaworzyńska 4
Księgarnia Uniwersytecka „Liber"
Krakowskie Przedmieście 24
Księgarnia w Centrum Sztuki Współczesnej
Pałac Książąt Ujazdowskich
Księgarnia „Reprint", Krakowskie Przedmieście 71
Księgarnia „Odeon", Hoża 19
Księgarnia „Odeon" II, ul. Bagatela 14
Księgarnia „Czytelnik", ul. Wiejska 14
Galeria „Zachęta", pj n Małachowskiego 3
a
Wrocław
Księgarnia Ossolineum, Rynek 6
Ciągłą sprzedaż hurtową publikacji Wydawnictwa IS PAN prowadzi:
1. Akademia Klon s.c. Hurtownie Książek.
01-217 W-wa, ul. Kolejowa 15/17, tel. 632-55-91
2. Skład Księgarski „centrum" sp. z o.o.
01-217 W-wa, ul. Kolejowa 5/7 tel. 631-86-93
Numer liczy 13 ark. druk.
Fotoskład: „Iskra", Warszawa, ul. Ratuszowa 11; tel. 18-94-24
Druk: inż. Piotr Włodarski, ul. Ksawerów 21; tel. 43-14-71 w. 240
Nakład 1200 egzemplarzy
