The chapter discusses the International Days of Roma Culture organised in Krakow since 2012 as an example of a local ethnic music festival enabling a public articulation of the Romani identity within the framework of an urban context. The festival is argued to primarily foster neighbourly relations between the Roma and non-Roma of Nowa Huta, and generally the citizens of Krakow. The overriding thesis of this chapter is that the Romani self-presentations as endorsed at the festival are meant to stimulate the recognition of the Romani input into the local culture and regional development. The analysis predominantly draws on participatory observations and interviews with the festival organisers to answer the question of how the Roma articulate their public identity in a particular local context. The results of the research are accompanied by photographs, illustrating various elements of the event.

Keywords: The International Days of Roma Culture in Krakow, Romani musicians, Nowa Huta, ethnic music festival, public identity

The proliferation of music festivals in 21st century Krakow seems remarkable: they encompass numerous formats and serve different purposes fostering the needs of various audiences while catering to varied demographic niches, diverse tastes and expectations. Some of them are designed as huge events, others—as small gatherings; some can be characterised as conservative, others—as more radical, even alternative, etc. The emergence of such an array of festivals in Krakow seems a natural consequence of the situation following the fall of communism in Poland: in the 1990s, the city reinvented its cultural programmes, adjusting them to the changing political and economic circumstances. Among other things, it can be also claimed that by then Krakow had become not only oriented towards cultural tourism but also—quite specifically—towards music tourism (as broadly associated with a wide range of musical practices). The city attempts to attract visitors willing to frequent music gigs or festivals, addressing what it has to offer to tourists interested in attending concerts (held, for example, at the Philharmonic Hall or in Krakow's numerous churches). It can be even assumed that several festivals (as well as other cultural events) are, in fact, organised with such tourists in mind.

However, there are also festivals which are more oriented towards local audiences and which openly address their needs and reflect their interests.