CANADIAN METHOD, POLISH PATRIOTISM – MAPLE BEAR CONCERT IN KATOWICE
The challenges facing Polish education have been widely acknowledged for some time. Problems range from a growing mistrust of teachers and the low prestige of the profession, to deeply entrenched organizational structures rooted in a vision of education where textbook knowledge is passively absorbed by students. Add to this the overstimulation of children, leading to concentration issues and psychological struggles. Some state school teachers seek solutions through engaging, topical lessons and creative initiatives, but change is slow and systemic support limited. Unsurprisingly, parents are increasingly turning to alternatives, fueling the growth of the alternative education sector.
In addition to Cloud School, Waldorf, and Montessori institutions, the Maple Bear network is a new entrant in Poland’s educational landscape. Present in over 30 countries, Maple Bear combines Canadian educational methodology—emphasizing 21st-century skills such as collaboration, critical thinking, problem-solving, digital literacy, and creativity—with the local core curriculum. While I haven’t observed their methods firsthand, the school offers open days for parents to explore its approach. Classes are conducted in both Polish and English, and the school takes pride in its carefully selected teaching staff.
To mark Independence Day, pianist and Maple Bear teacher Łukasz Filipczak organized a celebratory concert, the first of its kind at the Katowice branch. It’s a promising initiative, and one hopes there will be many more, with opportunities to refine its format for optimal impact.
The event followed a traditional concept: a chamber recital featuring Polish repertoire (primarily from the 19th century) in the first half, and group singing of patriotic songs by teachers and students in the second. However, this raises questions. If part of the goal is to foster critical thinking and prepare children to navigate the complexities of the modern world, why rely on a 19th-century vision of patriotism? This vision, often centered on the work of émigré artists and armed struggle culminating in ultimate sacrifice for the homeland, is valuable but could be reframed for young audiences.
I firmly believe in teaching children about history and cultivating gratitude for the sacrifices of those who secured our freedom. It is indeed educational and enriching to convey the nobility of their efforts. However, the challenge lies in translating this distant reality into language and ideas that resonate with children today.
The image of children singing about staking their lives for their country is especially poignant and unsettling in the context of the ongoing war just across our eastern border. Songs like We, the First Brigade feature archaic and intricate language, often unintelligible even to adults. While the children sang proudly and joyfully, which is wonderful, I wonder if their connection to the song could be deepened. Could they, for instance, rewrite the lyrics together to create imagery more relatable to their world?
It might also be worthwhile to delve into the lives of their historical peers—how their mothers fought to preserve a peaceful home and Polish identity. Or perhaps Independence Day could serve as a platform to explore modern expressions of patriotism. Students could learn about the many remarkable Polish artists, scientists, entrepreneurs, and journalists who redefine Polishness, representing the nation proudly on the global stage. Highlighting Poland’s rich cultural heritage alongside the courage to innovate could offer a more contemporary and inspiring view of patriotism.
It was the references to contemporary music that I missed, and these could easily be introduced, starting with the repertoire itself. At the recent Co-Congress of Culture, during a panel on education, composer and music educator Mateusz Ryczek pointed out that, contrary to appearances, children respond to contemporary composed music far better than adults. What may seem counterintuitive, unpleasant, or even “ugly” to those accustomed to classical philharmonic repertoire is often quite natural for children. After all, composers’ works are inherently responses to the soundscapes of their time, and these soundscapes are the environment in which younger generations grow up.
There is no need, then, to fear incorporating compositions by living composers or 20th-century classics, especially as the invited soloists—Magdalena and Łukasz Filipczak—interact with young audiences with remarkable ease, warmth, and a smile. Without hesitation, they took the microphone between pieces to provide brief, engaging introductions to the music in two languages (!). They could have even expanded these commentaries, delving into performance techniques or breaking down the structure of pieces with small demonstrations.
Having met the children during rehearsals beforehand, the performers seemed at ease during the concert. The friendly atmosphere was also supported by the softly illuminated auditorium, though I worried it might distract the artists. The concert hall at MDK Koszutka presents significant acoustic challenges, requiring great effort to ensure the violin sounds refined.
One of Magdalena Filipczak’s greatest strengths as a violinist is her meticulous attention to sound, ensuring that everything emerging from her instrument is noble, sonorous, and well-shaped. Her lyrical phrasing stood out, especially in Paderewski’s Melody, Op. 16 No. 2 and Szymanowski’s Prelude, Op. 1 No. 1. The dynamic and tonal variety, soft pianos, and logical phrasing in these pieces were captivating. However, I did miss a touch of bravura. While the hall doesn’t lend itself to overwhelming sound, Wieniawski’s Obertas, Op. 19 No. 1 felt a bit too serious and heavy. Similarly, Caprice, Op. 18 No. 4 might have benefitted from a more playful, whimsical approach.
Notably, the violinist was never overpowered by the piano, which provided attentive and at times almost imperceptible accompaniment. It was equally enjoyable to hear the piano in a solo capacity, especially in Chopin’s Nocturne in C-sharp Minor, Op. posth., performed with natural rubato. While there were no coloristic flourishes, the left-hand part was engagingly crafted.
The duo also tackled complex forms, such as Fantasie Brillante, Op. 20 on motifs from the opera Faust. This piece proved a demanding test for the young audience’s attention. After the exuberant, devilish dance in the middle section, the children seemed visibly distracted, and despite the violinist’s careful shaping of the lyrical passages that followed, the audience struggled to maintain focus. Honestly, I can understand why—the sweet phrases seem endless, stretching on until the virtuosic finale.
Magdalena and Łukasz Filipczak have incorporated this concert into their international tour. Their interpretations are thoughtful, polished, and calming. While I personally gravitate toward musical interpretations brimming with daring and surprise, I appreciate the duo’s commitment to showcasing Polish repertoire abroad. They demonstrate that Poland boasts highly educated, professional, and sensitive artists. Is this not the very essence of modern patriotism?
Łucja Siedlik
A violinist by training, an English philologist, and a cultural studies scholar, Siedlik focuses on writing and music, including writing about music. She is the literary manager at Teatr Rozrywki in Chorzów. Her past roles include editing the taniecPOLSKA.pl portal, working in marketing and communications at the NOSPR, and teaching at a music school in Jastrzębie-Zdrój and the ProfiLingua language school. She contributes to Ruch Muzyczny, Radio Two, Radio Folk Culture Centre, and other cultural institutions. A member of the Przestrzeń Otwarcia Association and Radical Polish Ansambl ensemble, she is pursuing a PhD at the Polish Academy of Sciences, researching the intersection of Polish traditional music and contemporary composed music.