Paper short abstract:

I would like to examine the everyday life creativity (Löfgren 2001, Liep 2001) observed in village areas of central Poland. I would like to take into account the different ways in which the idea of cultural creativity is being described and shared (see Willis 1998).

Paper long abstract:

I would like to examine the everyday life creativity (Löfgren 2001, Liep 2001) observed in village areas of central Poland. I would like to take into account the different ways in which the idea of cultural creativity is being described and shared by - on one hand - Polish cultural animators (activists and engaged artists coming from Warsaw) who lead participatory arts projects in the "periphery", and - on the other hand - by local activists and social actors with their own sense of creativity and aesthetics (see Willis 1998).

The cultural animation as an idea of "active culture" was born in Poland in the Polish counterculture of the 1960s and 1970s, however, it was also strongly rooted in past tradition. Cultural animation projects started to have a more visible impact In the 1990s, with the rising number of projects led by NGOs financed by the EU or state grants (Crehan 2006).