The Jarosin Festival originated back to 1970 and began as Wielkopolskie Rytmy MΕodych (Wielkopolska Rhythms of the Young), a local music competition to promote amateur rock bands.
The event, held in the small town of Jarosin, quickly gained popularity and attracted young people all over Poland.
In 1980, the festival changed its name and evolved into a platform for alternative and underground music.
The festival has achieved a unique position in the Eastern Bloc. Unlike most communist countries where rock music was suppressed, Jarosin has become an officially tolerated (though closely monitored) space. It was one of the few places where bands could express themselves artistically freely and give them exhaust to their frustration about authoritarianism, censorship and social norms under the oppressive communist regime.
Jarosin in the 1980s was both a musical and sociopolitical phenomenon, providing a destructive voice to young people in Poland during and after martial law.
It became a breeding ground for Polish punk and rock icons such as Dezerter, Kult, and Armia.
With the collapse of communism in 1989, Jarosin entered a period of transformation. The original role of the festival β as a sanctuary of freedom of expression in a oppressive regime β was no longer necessary.
The 1990s led to an increase in the commercialization of Polish culture, and Jarosin struggled to redefine himself in a more open, market-driven society.
However, the event experienced a Renaissance in the 2000s. This was supported by the growth of nostalgia in the 1980s and the revival of interest in alternative music.
The festival is currently being held by Poznan’s Good Taste Production Agency. Poznan will have festivals such as the upcoming fest, salt wave by Porsche and a bittersweet festival.
The first
Festival spokesman Edgar Hein detailed the event’s past significance. “This is an absolute legend. A festival dates back to 1970, the biggest Polish band’s career began. Not only rock careers, but social revolutions happened, but the subcultures of the ’80s, subcultures of the ’90s, found history. Mark) Dalek MarΓ©jonek, Bandhunter, Cobranokka.
Certainly, Dalek MarΓ©jonek, also known as “Mareno,” was one of the first acts to perform at Jarosin.
“Today is a commercial festival, but my heart always beats hard in this place because it all started.”
“There were a lot of security service agents, and there were different strange people dressed in civilian clothes that sometimes even cause riots. TV was filming these riots, and at that moment they (illustrated) these dirty punks, metal heads.”
“Though these communist times are now merely memories, they were difficult enough to empower us to deal with them all the time.”
Play to play
Competition between young bands is still a very important part of the festival. Wirefall is one of the few bands eligible to perform on small stages.
“I think we’re playing a very alternative, such alternative metals, new metals.”
The musician said many bands here play heavy and alternative music, but the festival gives a family vibe.
“For example, there are a lot of kids. For example, Mateus and Conrad read Twim’s poems to the kids as part of the festival,” he said.
“When we play for the next Jarosin Festival, I will definitely take my family.”
There is a series of attached events and exhibitions to move away from music and bring communist events closer to home
Today’s Jarosin combines nostalgia with modernity. We pay tribute to their legacy while introducing contemporary punk, rock, indie and hip hop artists.
This allows Jarosin to maintain his bond with its roots, support independent musicians and alternative voices, and remain a symbol of the rebellion and artistic freedom of Polish youth.
It is not only a celebration of music, but also a living archive of Polish sociopolitical change, reflecting the changing identity, values and artistic expressions over generations.
It is considered part of Poland’s cultural heritage, and documentaries, exhibitions and academic research are dedicated to history.
From the destructive gatherings of young people during the communist era to the democratic music festivals in Poland, the evolution of Jarosin reflects the country’s historical trajectory.