Let’s begin anew: when and how did POLE come into existence?
Not long ago. The story starts more than a decade back when the members met and sang together in a children’s choir called VIA «Teremok». Three years ago the group reassembled with this team to join the Terem crossover music contest. Their strong reception encouraged them to stay and collaborate more deeply.
There are six women in the ensemble. Who handles what responsibilities?
The responsibilities in the group are flexible and shared among the six. Some select pieces from the repertoire, others work on arrangements, social media, and promotion, while another member handles the program and performances. With six people, there are many tasks, and the balance helps keep the work lively and diverse.
What about their pasts and how they encountered folk music?
Each member arrived from a different path: from the pop world, from friendships, from an unconventional school. What unites them is a turning point in adolescence when folk music entered their lives. Along the way they met mentors who demonstrated the power and depth of traditional material and taught them to work with complex sources.
In a previous interview about the creative journey, you mentioned that some members were “raised in a folk family.” What does that phrase mean here?
There was a misstatement in that interview. Some of the people in the earlier children’s group could be described as part of a “folk family.” In this context, a folk family refers to a household where parents maintain an authentic traditional lifestyle and nurture a child’s early exposure to folk songs, games, and rituals.
With six members, conflicts can arise, especially on creative quests. How does the group reach a shared language?
Creative clashes happen, yet they are followed by frank conversations and collaborative, fresh ideas. The six listen to one another and seek compromises, examining controversial issues from multiple angles and weighing the situation openly. Each member values their own vision because this music and the arrangements are a reflection of the group’s soul.
You released the album “Origins” in 2022. What is its backstory and concept?
The project began with a serious reflection on what unites all people. It centers on life, mortality, and shared roots, touching on ancestors. The album explores how individuals can be alike in experience yet remain unique. Eleven songs trace eleven stages of life—from inception to ending, celebration to mourning, loneliness to companionship—filling the record with wide emotional textures.
Origins is also a visual performance. Director Nikita, gesture vocalist Katya, choreographer and dancer Tess, performer Natalia, each contribute a distinct layer that deepens the story.
What inspired the idea to include sign language?
Katya, the gesture vocalist, joined the project and immediately resonated with the group. The moment her presence became part of rehearsals, a new possibility opened up. The ensemble realized they could make the performances more inclusive, because music is a universal language and they wanted to share it with everyone.
How has the group evaluated its progress over the past year? Any particular achievements to highlight?
Compared with a year ago, the progress is substantial. They secured a grant, recorded a debut album, presented a show, and began working with inclusivity at the core of their art. The year also brought collaborations with many talented people, enriching both the creative process and the group’s sense of purpose. If one achievement stands out, it would be the Origins album performance—an intricate collaboration that showcased their teamwork and ambition.
Does folk music leave room for experimentation, given that the main instrument is the human voice and minimal other instruments?
Experimentation is everywhere. They seek material that resonates, then reinterpret it in their own voice. Ethno-music acts as a strong, flexible foundation that preserves past traditions while inviting new languages and forms. The ongoing search is itself an experiment in expression.
There’s a notion that folk music is hard for city dwellers to hear. Do you listen with headphones, or is folk music heard in other ways and places?
Folk music belongs anywhere. It is a home art that accompanies daily life, yet there is a growing sense that folk needs the right moment to be heard. It is a channel for emotional experience, inviting listeners to connect with the imagery and feelings embedded in the songs. The key is an open heart and a willingness to feel the music deeply.
Istoki features songs in Serbian, Bulgarian, and Croatian. The album even traces a geography of folklore—from Plekhovo village to Saratov region. How do you search for the material you perform?
The process is messy and long-winded. Sometimes a track enters the repertoire years after first hearing it; other times a rough demo is recorded and refined the same day. Each piece has its own story: researchers’ notes, ethnomusicology sources, and a flood of listened material. If something connects emotionally, it moves forward. The main criteria: it is heard, it feels true, and it speaks.
What about property rights in this context?
Since folk songs belong to a living tradition, authorship cannot be pinned to a single person. Yet each new treatment is a distinct arrangement—layering voices, beatboxing, and instruments to create something unique for the performance.
Have any members written lyrics themselves, perhaps for other projects?
A few members write lyrics and poetry, and there is interest in future explorations of original material within POLE or related projects.
Which contemporary folk artists would you recommend?
Favorites include Zventa Sventana, DakhaBrakha, Settlers, Laboratorium Piesni, hodíla ízba, KASHA, post-dukes, Go-A, among others. The scene is expanding, and each artist brings a distinct voice to folk music.
You travel widely within Russia. Which places stand out most and why?
Onega in the Arkhangelsk region stands out, visited twice in the last year. A memorable performance on hot rocks near the White Sea on Kiy Island left a lasting impression. Journeys to Yekaterinburg also hold a special place due to the atmosphere and the people encountered there.
Beyond the group work, do the members pursue other professions?
Each member maintains another line of work besides music, spanning a broad range—from dispute resolution to caravan construction. This diversity fuels fresh ideas and keeps the group creatively energized.
You are preparing a performance on a fiery stage at Archstoyanie. What can audiences expect?
It will unfold as a ritual of songs, dances, and gestures that connect with nature. The performance invites the audience to experience a journey from birth to death, discovering new meanings through folk songs. The bonfire-lit stage at Archstoyanie is an ideal setting for this intense, primal connection with nature.
You often discuss the ritual nature of your performances. Do you follow personal rituals as well?
Daily rituals are a part of life for every member. The core rituals involve emotional reset and personal meaning. Individuals create personal rituals that give symbolic actions their significance, and sometimes they pause to ask themselves questions and trigger new creative processes.
There is a belief that emotion is at the heart of ethno-music. Could you share a moment of emotional turbulence tied to music?
Indeed, the emotional pull is strong. On stage or in listening rooms, the shared experience with the audience is intensely alive. Each performance pushes the performers to feel deeply and respond in the moment.
Specific moments stand out. Arina recalls the power of standing in a circle while a spiritual verse was sung around her, a moment that pushed her beyond herself. Alyona was touched by a Witcher story—the original verses, the film, and the soundtrack inspired a new song. Lena describes Origins as the most immersive experience, where singing with the group makes her feel fully present and emotionally connected, especially during lullabies that reveal a mother’s joy at a child’s awakening.