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CLOSING OF THE FESTIVAL

Rebekka Bakken and the band (Norway)

20. 11. 2011 – Sunday
8 pm
MB Zwycięska Church, ul. Łąkowa 40

About Christian Culture Festival

Christian Culture Festival was organized for the first time in 1997 on 10th Anniversary of the Logos Theatre. In a sense, it extends the idea of Christian Culture Weeks organized in Poland in 70s and 80s of the last century, which were to become counterpoise to lay media model promoted by the State. Lodz Christian Culture Days were organized in churches all around the city, so as to accommodate the artists, spectacles, exhibitions and projections.

One of such places was the John Paul lecture theatre in the vault of the Assumption of Holy Mother Church in Kościelna Street. This is where the Logos Theatre started, before it was moved to the church in Maria Skłodowska-Curie. It was this church that Archbishop Władysław Ziółek gave to the Lodz artists in 1993, and in which the Centre of Creative Communities’ of Lodz Archdiocese was appointed. It is here that the ‘logistic’ centre of the Festival is located, and where some of the Festival events take place.

Traditionally, the Festival takes place in November, on the first Sunday after All Soul’s Day. It usually lasts for two weeks, during which various event take place – spectacle premiers, other theatres come to Lodz, there are exhibitions of invited artists, performances of choirs and musicians, very often not to be seen anywhere else in Poland at any other time. The Festival programme is the result of the whole year’s work of rev. Waldemar Sondka, the Festival Director, who – using his contacts – invites artists who are interesting, out of the ordinary, noteworthy and creating art perhaps not always religious, but always searching and at the highest level. Care for the level of the Festival offers is a permanent rule, the Logos environment has always wished to provide the Lodz citizens with the possibility of contact with art deprived of parochialism, open to the man and as perfect formally as possible.

The Festival is not an activity that brings profit. Any entrance cards are issued as invitations that are free of charge, and the team of the Logos Theatre and all the people engaged in the Festival organization, act as volunteers. This does not mean that Christian Culture Festival costs nothing. On the contrary, to organize such a cultural event at appropriate level is always connected with costs. Rev. Waldemar Sondka deals with organizing means to secure the Festival events all year round. He manages to gain sponsors (without whom the Festival would not exist) and subsidies from institutions that deal with funding culture (without which the Festival could not develop). All that in order to realize the basic idea of the event that derived from the Lodz Christian Culture Days – to enable anyone who wishes and needs that, to live the Mystery through art. This idea assumes a free of charge participation in all the artistic events, which has been the case since the very beginning of the Festival until today, the only condition is that on the day of the Festival opening, one must queue as long as it takes to get invitations. The only limit to the number of invitations is the capacity of rooms in which the events are organized every day throughout the two weeks of the Festival.


 

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Rebekka Bakken

If it was up to Rebekka Bakken, people would not talk about her music, but rather just listen to it. The singer-songwriter with the deeply touching three-octave range is an "Anti Drama Queen" - a restless soul and at rest within herself at the same time. "I need the music more than it needs me", she says. "I like to put everything to life in my music. It’s no big deal." Hearing is feeling is living, when it comes to this emotional artist. But maybe it is also because her songs are so poetic and meaningful and her melodies speak so clearly and beautifully, that the curiosity to find out what is behind them is so enormous. With her fifth album the Norwegian singer, who was living in New York and Vienna for a long time and now makes her home on a horse-farm in Sweden, continues her "American series". Brilliantly sung, sensually and lusciously played, these songs about love, life, lust and misery - the oldest topics in the world - always seem up to date. Their sound is so unique and original, that even the three cover-versions of songs by Bruce Springsteen, Jane Siberry, and Alphaville, fit perfectly with Bakken’s own new compositions. This music touches, on many levels. "Communication", as Rebakka Bakken says, "is so much more than words."

The album-title "September" and that certain melancholy that comes with it relate to "the beginning of the end of all things", as Rebekka Bakken says. "Because I could see the world and life through the eyes and the heart of my dying father last year and was able to be there for him in the September of his life, I came to die to a lot of things in my own life, too. Very few things had meaning afterwards, but those things that did were so filled with life, that I felt more alive than ever. Through that I was able to get rid of the accumulated useless belongings of the last springs and summers. But it was pretty weird to lose total interest in my own work for a while, as I did not have the feeling that music could fulfill me or my sense of an occupation as much as what I had just experienced; at least until I had my next concert, which made me incredibly happy, since I found that meaningfulness also there." She began writing new song "from nothing", with the same basic trust in her creative powers, which Rebekka Bakken already so aptly described on her debut-album "The Art Of How To Fall". A few months later she had created exactly those songs which expressed her emotional universe, such as the subtle title-track, the fun-loving pop-grooves "Driving" or "Girl Next Door", the lyrical lullaby "Mina’s Dream", the catchy midtempo-melody "Never Been To Paris", the cinematic episode about the "Innocent Thief", and such tragically beautiful love-songs as "Strange Evening", of course. In addition she found songs by other songwriters, which spoke to her soul, like Jane Siberry’s sentimental ode "Love Is Everything", Bruce Springsteen’s "The Wrestler" (from the movie of the same name), as well as "Forever Young", a hit, which Rebekka loved so much when she was only fourteen, that she borrowed a tape-recorder and the Alphaville-tape with it and wore both of them out so thoroughly that the latter eventually broke. "The boy I had borrowed the tape from was really mean and tough", she remembers. "I was really scared, that I would be facing my final hour, when I told him that I had ruined his tape. When I finally did so, he just shrugged and said: "It happens." This song always reminds me of the enormous relief I felt when I realized, that after all I wouldn’t have to die for now." After deciding on the songs, the contact with Malcolm Burn was established, a Canadian-born producer, who has so far excelled with his work for Daniel Lanois or Bob Dylan, and with his Grammy-award-winning productions for Emmylou Harris. Rebekka Bakken travelled to his studio in Kingston, New York, in February 2011 and began recording "September", accompanied by a fantastic group of American musicians with Gail Ann Dorsey on bass, the guitarist Bill Dillon and drummer Bill Dobrow. "I felt so free during these recordings, because these musicians were really feeling and expressing my musical world. If you ask me, maybe the most unbelievable thing about this album is the fact that I am playing the piano myself", Rebekka Bakken says. "I never thought that would ever happen."

The fact that Rebekka Bakken does not only sing but also play her own music, helps in creating a new, free, and self-assured expression. "Music cannot not happen", she says, consciously using the double negative. "If you try, it’s not going to work. But if people don’t think too much, music can some."