A PR specialist by training and a folklorist by vocation, Tatiana  Czarna-Nakonieczna is also a community arts practitioner, activist, and community organiser, and a member of the Przemyśl  Branch of the Association of Ukrainians in Poland. For more  than a decade, she has worked to document, preserve, and  promote the cultural heritage of Poland’s Ukrainian minority.  She has created one of the largest archives of this community’s  songs, melodies, oral accounts, and descriptions of customs. Her  field research in Poland, Ukraine, and Canada has documented  musical traditions, customs, and stories. In 2025, her work to preserve the cultural heritage of Poland’s Ukrainian minority was  recognised with a Gloria Artis Bronze Medal for Merit to Culture.  She currently holds a scholarship from the Minister of Culture  and National Heritage.

With Krajka and Krajeczka, the ensembles she directs, she has  released four albums of traditional Ukrainian songs from the Polish–Ukrainian borderlands; two received distinctions in Polish  Radio’s Phonogram of Sources competition. In 2024, under  the National Institute of Music and Dance programme Traditional  Music – Phonographic Publications, she initiated and coordinated  the release of the double album Nadsanie Region’s Musical Anthology. It received the Special Prize in the Phonogram of Sources  competition organised by Polish Radio’s Folk Culture Centre.

Over the course of her work, she has prepared several hundred  ritual, lyrical, and seasonal songs from south-eastern Poland.  The material draws on field research, ethnographic collections— above all those of Oskar Kolberg—and the archives and documentation of other researchers into regional traditions.

In 2024, she also helped reconstruct traditional dress from  the Nadsanie region for Krajka. Working with a team of consultants from Poland and Ukraine, she developed a map of the region  for the publication Nadsanie Region’s Musical Anthology. The project draws attention to an area which, despite its exceptional cultural and musical value, long remained outside the mainstream  interests of ethnographers and ethnomusicologists.