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  • Native American flute

    The Native American flute is a musical instrument and flute that is held in front of the player, has open finger holes, and has two chambers: one for collecting the breath of the player and a second chamber which creates sound. The player breathes into one end of the flute without the need for an embouchure. A block on the outside of the instrument directs the player’s breath from the first chamber—called the slow air chamber—into the second chamber—called the sound chamber. The design of a sound hole at the proximal end of the sound chamber causes air from the player’s breath to vibrate. This vibration causes a steady resonance of air pressure in the sound chamber that creates sound.

    Native American flutes comprise a wide range of designs, sizes, and variations—far more varied than most other classes of woodwind instruments.

    Names

    The instrument is known by many names: Some of the reasons for the variety of names include: the varied uses of the instrument (e.g. courting), the wide dispersal of the instrument across language groups and geographic regions, legal statutes (see the Indian Arts And Crafts Act), and the Native American name controversy.

    Native American names for the flute include:

    Cheyenne: tâhpeno
    Chippewa: bĭbĭ’gwûn
    Dakota: ćotaŋke
    Kiowa: do’mba’
    Lakota: Šiyótȟaŋka
    Opata: bícusirina (Teguima language)
    Unami: achipiquon (Lenape)
    Zuni: Tchá-he-he-lon-ne, lit.’sacred warbling flute’
    Alternative English-language names include: American Indian courting flute, courting flute, Grandfather’s flute, Indian flute, love flute, Native American courting flute, Native American love flute,Native American style flute (see the Indian Arts And Crafts Act), North American flute, Plains flute, and Plains Indian courting flute.

    Names in other languages include:

    Bavarian: Indianafletn
    Dutch: Indiaans-Amerikaanse fluit
    Esperanto: indiĝena amerikana fluto
    French: Siyotanka
    German: Indianerflöte
    Hawaiian: Papa ʻAmelika ʻohe kani
    Japanese: ネイティブアメリカンフルート, romanized: Neitibu amerikan furūto
    Korean: 인디언 피리, romanized: indieon pili
    Polish: Flet indiański
    Russian: Индейская флейта, romanized: indeiskaya fleita
    Portuguese: Flauta Nativa Americana

    Naming conventions

    By convention, English-language uses of the name of the instrument are capitalized as “Native American flute”. This is in keeping with the English-language capitalization of other musical instruments that use a cultural name, such as “French horn”.

    The prevalent term for a person who plays Native American flutes is “flutist”. This term predominates the term “flautist”. “Flute maker” is the predominant term for people who “craft” Native American flutes.

    Organology

    The instrument is classified in the 2011 revision of the Hornbostel–Sachs system by the MIMO Consortium as 421.23—Flutes with internal duct formed by an internal baffle (natural node, block of resin) plus an external tied-on cover (cane, wood, hide). This HS class also includes the Suling.

    Although Native American flutes are played by directing air into one end, it is not strictly an end-blown flute, since the sound mechanism uses a fipple design using an external block that is fixed to the instrument.

    The use of open finger holes (finger holes that are played by the direct application and removal of fingers, as opposed to keys) classifies the Native American flute as a simple system flute.

    History

    There are many narratives about how different Indigenous peoples of the Americas invented the flute. In one narrative, woodpeckers pecked holes in hollow branches while searching for termites; when the wind blew along the holes, people nearby heard its music. Another narrative from the Tucano culture describes Uakti, a creature with holes in his body that would produce sound when he ran or the wind blew through him.

    It is not well known how the design of the Native American flute developed before 1823. Some of the influences may have been:

    Branches or stalks with holes drilled by insects that created sounds when the wind blew.
    The design of the atlatl.
    Clay instruments from Mesoamerica.
    The Anasazi flute developed by Ancestral Puebloans of Oasisamerica.
    Experience by Native Americans constructing organ pipes as early as 1524.
    Recorders that came from Europe.
    Flutes of the Tohono O’odham culture (often referred to by the archaic exonym “Papago flutes”). Although crafted by a Native American people, these instruments are not strictly Native American flutes since they do not have an external block. In place of the block, the flue is formed by the player’s finger on top of the sound mechanism. This style of flute may have been a precursor to, or one of the influences for, the Native American flute.

    Flutes of the Akimel O’odham culture (often referred to by the archaic exonym “Pima flutes”). These flutes may have directly evolved from flutes of the Tohono O’odham culture, with the addition of a piece of cloth over the sound mechanism to serve as the external block.
    It is also possible that instruments were carried from other cultures during migrations.

    Flutes of the Mississippian culture have been found that appear to have the two-chambered design characteristic of Native American flutes. They were constructed of river cane. The earliest such flute is curated by the Museum Collections of the University of Arkansas, Fayetteville. It was recovered in about 1931 by Samuel C. Dellinger and more recently identified as a flute by James A. Rees, Jr. of the Arkansas Archeological Society. The artifact is known colloquially as “The Breckenridge Flute” and was conjectured to date in the range 750–1350 CE. This conjecture proved to be accurate when, in 2013, a sample from the artifact yielded a date range of 1020–1160 CE (95% probability calibrated date range).

    The earliest extant Native American flute crafted of wood was collected by the Italian adventurer Giacomo Costantino Beltrami in 1823 on his search for the headwaters of the Mississippi River. It is now in the collection of the Museo Civico di Scienze Naturali in Bergamo, Italy.

    Construction

    Components

    The two ends of a Native American flute along the longitudinal axis are called the head end (the end closest to the player’s mouth—also called the North end, proximal end, or top end) and the foot end (also called the bottom end, distal end, or South end).

    The Native American flute has two air chambers: the slow air chamber (also called the SAC, compression chamber, mouth chamber, breath chamber, first chamber, passive air chamber, primary chamber, or wind chamber) and the sound chamber (also called the pipe body, resonating chamber, tone chamber, playing chamber, or variable tube). A plug (also called an internal wall, stopper, baffle, or partition) inside the instrument separates the slow air chamber from the sound chamber.

    The block on the outside of the instrument is a separate part that can be removed. The block is also called the bird, the fetish, the saddle, or the totem. The block is tied by a strap onto the nest of the flute. The block moves air through a flue (also called the channel, furrow, focusing channel, throat, or windway) from the slow air chamber to the sound chamber. The block is often in the shape of a bird.

    Note that flutes of the Mi’kmaq culture are typically constructed from a separate block, but the block is permanently fixed to the body of the flute during construction (typically with glue). Even though these flutes do not have a movable block, they are generally considered to be Native American flutes.

    The precise alignment and longitudinal position of the block is critical to getting the desired sound from the instrument. The longitudinal position also has a modest effect on the pitches produced by the flute, giving the player a range of roughly 10–40 cents of pitch adjustment.

    The slow air chamber has a mouthpiece and breath hole for the player’s breath. Air flows through the slow air chamber and up the ramp, through the exit hole, and into the flue.

    The slow air chamber can serve as a secondary resonator, which can give some flutes a distinctive sound.

    The sound chamber contains the sound hole, which creates the vibration of air that causes sound when the airflow reaches the splitting edge. The sound hole can also be called the whistle hole, the window, or the true sound hole (“TSH”). The splitting edge can also be called the cutting edge, the fipple edge, the labium, or the sound edge.

    The sound chamber also has finger holes that allows the player to change the frequency of the vibrating air. Changing the frequency of the vibration changes the pitch of the sound produced.

    The finger holes on a Native American flute are open, meaning that fingers of the player cover the finger hole (rather than metal levers or pads such as those on a clarinet). This use of open finger holes classifies the Native American flute as a simple system flute. Because of the use of open finger holes, the flutist must be able to reach all the finger holes on the instrument with their fingers, which can limit the size of the largest flute (and lowest pitched flute) that a given flutist can play. The finger holes can also be called the note holes, the playing holes, the tone holes, or the stops.

    The foot end of the flute can have direction holes. These holes affect the pitch of the flute when all the finger holes are covered. The direction holes also relate to (and derive their name from) the Four Directions of East, South, West, and North found in many Indigenous American stories. The direction holes can also be called the tuning holes or wind holes.

    In addition to the Components of the Native American flute diagram shown above with English-language labels, diagrams are available with labels in Cherokee, Dutch, Esperanto, French, German, Japanese, Korean, Polish, Russian, and Spanish.

    Spacer plate

    An alternate design for the sound mechanism uses a spacer plate to create the flue. The spacer plate sits between the nest area on the body of the flute and the removable block. The spacer plate is typically held in place by the same strap that holds the block on the instrument. The splitting edge can also be incorporated into the design of the spacer plate.

    The spacer plate is often constructed of metal, but spacer plates have been constructed of wood, bark, and ceramic.

    When positioning and securing the removable block with the strap, the use of a spacer plate provides and additional degree of control over the sound and tuning of the flute. However, it also adds a degree of complexity when performing the task of securing both the block and the spacer plate.

    Plains style vs. Woodlands style

    Various sources describe attributes of Native American flute that are termed “Plains style” and “Woodlands style”. However, there is no general consensus among the various sources about what these terms mean. According to various sources the distinction is based on:

    whether the flute uses a spacer plate to create the flue of the instrument,
    whether the flue is in the body of the flute or the bottom of the block,
    the sharpness of the angle of the splitting edge,
    whether the finger holes are burned or bored into the body of the flute,
    the design of the mouthpiece (blunt and placed against the lips vs. designed to go between the lips),
    the timbre of the sound of the flute, or
    details of the fingering for the primary scale.

    Branch flutes

    While many contemporary Native American flutes are crafted from milled lumber, some flutes are crafted from a branch of a tree. The construction techniques vary widely, but some makers of branch flutes will attempt to split the branch down a centerline, hollow out the inside, and then mate the halves back together for the completed flute.

    Double and multiple flutes

    A double Native American flute is a type of double flute. It has two sound chambers that can be played simultaneously. The two chambers could have the same length or be different lengths.

    The secondary sound chamber can hold a fixed pitch, in which case the term “drone flute” is sometimes used. The fixed pitch could match the fingering of the main sound chamber with all the finger holes covered, or it could match some other pitch on the main sound chamber. Alternately, various configurations of finger holes on the two sound chambers can be used, in which case terms such as “harmony flute” or “harmonic flute” are sometimes used.

    Extending the concept, Native American flutes with three or more chambers have been crafted. The general term “multiple flute” is sometimes used for these designs.

    Dimensions

    Some Native American flutes constructed by traditional techniques were crafted using measurements of the body. The length of the flute was the distance from inside of the elbow to tip of the index finger. The length of the slow air chamber was the width of the fist. The distance between the sound hole and first finger hole was the width of the fist. The distance between finger holes would be the width of a thumb. The distance from the last finger hole to the end of the flute was the width of the fist.

    Flute makers currently use many methods to design the dimensions of their flutes. This is very important for the location of the finger holes, since they control the pitches of the different notes of the instrument. Flute makers may use calculators to design their instruments, or use dimensions provided by other flute makers.

    Materials

    Native American flutes are traditionally crafted of a wide range of materials, including wood (cedar, juniper, walnut, cherry, and redwood are common), bamboo, saw grass, and river cane. Flute makers from Indigenous cultures would often use anything that could be converted or made into a long hollow barrel, such as old gun barrels.

    Poetic imagery regarding the covenant between flute maker and player was provided by Kevin Locke in the Songkeepers video:

    The flute maker has to take that cedar, split it open, and remove that beautiful, straight-grained, aromatic, sweet, soft, deep-red heart of the cedar. And then they will re-attach both halves and put the holes in. And so the covenant or reciprocal agreement is that the flute player will instill the heart back into the wood — put their heart back in there.

    Contemporary Native American flutes continue to use these materials, as well as plastics, ceramic, glass, and more exotic hardwoods such as ebony, padauk, and teak.

    Various materials are chosen for their aromatic qualities, workability, strength and weight, and compatibility with construction materials such as glue and various finishes. Although little objective research has been undertaken, there are many subjective opinions expressed by flute makers and players about the sound qualities associated with the various materials used in Native American flutes.

    Physical and mental benefits of the flute

    Heart rate variability

    One study that surveyed the physiological effects of playing Native American flutes found a significant positive effect on heart rate variability, a metric that is indicative of resilience to stress.

    Music therapy

    The Native American flute is still used today in Music Therapy settings. Known as Ojibwe music, usage of the flute is extremely beneficial for hospice, cancer, and cardiac patients to assist in managing anxiety, restlessness, fear, and pain. Flutes can provide a source of rehabilitation and encourage a sense of accomplishment. It guides patients in taking a deep breath and using controlled exhalations to blow through the flute, helping with exercising the lungs.

    Ergonomics

    Contemporary Native American flutes can take ergonomic considerations into account, even to the point of custom flute designs for individual flute players. However, the ergonomic issues related to these instruments are not well-studied and ergonomic designs are not widespread; one study reported that 47–64% of players reported physical discomfort at least some of the time, while over 10% of players reported moderate discomfort on an average basis.

    Fingering

    Native American flutes typically have either five or six finger holes, but any particular instrument may have from zero to seven finger holes. The instrument may include a finger hole covered by the thumb.

    The fingerings for various pitches are not standardized across all Native American flutes. However, many contemporary Native American flutes will play the primary scale using the fingering shown in the adjacent diagram.

    While the pentatonic minor scale is the primary scale on most contemporary Native American flutes, many flutes can play notes of the chromatic scale using cross-fingerings.

    Tuning

    Authentic Native American flutes and Native American ‘Style’ flutes are available in a wide variety of keys and musical temperaments—far more than typically available for other woodwind instruments. Instruments tuned to equal temperament are typically available in all keys within the range of the instrument. Instruments are also crafted in other musical temperaments, such as just intonation, and pitch standards, such as A4=432 Hz.

    Warble

    A distinctive sound of some Native American flutes, particularly traditional flutes, is called a warble (or warbling). It sounds as if the flute is vacillating back and forth between distinct pitches. However, it is actually the sound of different harmonic components of same sound coming into dominance at different times.

    John W. Coltman, in a detailed analysis of flute acoustics, describes two types of warbles in Native American flutes: One “of the order of 20 Hz” caused by a “nonlinearity in the jet current”, and a second type “in which amplitude modulation occurs in all partials but with different phases”. The first type is analyzed by Coltman in a controlled setting, but he concluded that analysis of the second type of warble “is yet to be explained”.

    The warble can be approximated by use of vibrato techniques. The phase shift that occurs between different harmonics can be observed on a spectrograph of the sound of a warbling flute.

    Written music

    Written music for the Native American flutes is often in the key of F-sharp minor, although some music is scored in other keys. However, the convention for this music written in F-sharp minor is to use a non-conforming key signature of four sharps, creating what is known as “Nakai tablature”.

    Note that the use of finger diagrams below the notes that is part a high percentage of written music for the Native American flutes is not necessarily part of Nakai tablature.

    The use of a standard key signature for written music that can be used across Native American flutes in a variety of keys classifies the instrument as a transposing instrument.

    Music

    Extensive ethnographic recordings were made by early anthropologists such as Alice Cunningham Fletcher, Franz Boas, Frank Speck, Frances Densmore, and Francis La Flesche. A small portion of these recordings included Native American flute playing. One catalog lists 110 ethnographic recordings made prior to 1930.

    These recordings document traditional flute styles in a number of different Indigenous cultures and settings.

    However, the legal and ethical issues surrounding access to these early recordings are complex. Because of incidents of misappropriation of ethnographic materials recorded within their territories, Indigenous communities today claim the right to determine whether, how and on what terms elements of their intangible cultural heritage are studied, recorded, re-used and represented by researchers, museums, commercial interests and others.

    During the period 1930–1960, few people were playing the Native American flute in public performances, or allowing recordings to be made. However, a few recordings of flute playing during this period are commercially available. One such recording is by Belo Cozad, a Kiowa flute player who made recordings for the U. S. Library of Congress in 1941.

    Revival

    During the late 1960s, the United States saw a roots revival of the Native American flute, with a new wave of flutists and artisans such as Doc Tate Nevaquaya, John Rainer, Jr., Sky Walkinstik Man Alone, and Carl Running Deer.

    The music of R. Carlos Nakai became popular in the 1980s, in particular with the release of the album “Canyon Trilogy” in 1989. His music was representative of a shift in style from a traditional approach to playing the instrument to incorporate the New-age genre. Mary Youngblood won two Grammy Awards in the Native American Music category for her Native American flute music in 2002 and 2006. She remains the only Native American flutist to be distinguished in this way, as the National Academy of Recording Arts and Sciences retired the category in 2011.

    Today, Native American flutes are being played and recognized by many different peoples and cultures around the world.

    Popular appeal

    The Native American flute has gained popularity among flute players, in large part because of its simplicity. According to a thesis by Mary Jane Jones:

    The flute’s cathartic appeal probably lies in its simplicity. In their quest to build instruments that could play several chromatic octaves with perfect intonation, Europeans produced mechanically complex instruments that require a great deal of technical skill on the part of the musician. Until a high level of competence is achieved, pouring out one‘s innermost feelings during a performance is extremely difficult. The ability to play musically and emotionally is subject to the musician‘s technical ability. As most music teachers will attest, many beginners take so long to master the necessary skills and are so focused on the technical aspects of their instruments that they must eventually be taught how to play with feeling. Struggling with the demands of their instruments over time causes them to lose the emotional connection to music that they may have felt when singing as young children. Since beginners can play melodies on the Native American flute with ease, it is possible for them to play expressively from the outset. As flute players become better acquainted with their instruments, their improvisations tend to become longer, have more complex melodies and forms, and contain more embellishments. However, the ability to express emotion through improvisation on the flute seems as easy for the beginner as it is for the advanced student.

    Flutists and composers

    Notable and award-winning Native American flutists include: R. Carlos Nakai, Charles Littleleaf, Joseph Firecrow, Kevin Locke, Aaron White, Robert Mirabal and Mary Youngblood.

    A few classical composers have written for the Native American flute, including Brent Michael Davids, James DeMars, Philip Glass, Jerod Impichchaachaaha’ Tate, and Fabio Mengozzi.

    Legal issues

    1990 Indian Arts and Crafts Act

    The 1990 Indian Arts and Crafts Act of the United States criminalized deceptive product-labeling of goods that are ostensibly made by Native Americans. In the United States, wrongfully claiming that an artifact is crafted by “an Indian” is a felony offense. The US Department of the Interior explicitly states on its informational website about the Act that, “Under the Act, an Indian is defined as a member of any federally or State recognized Indian Tribe, or an individual certified as an Indian artisan by an Indian Tribe.”

    Based on this statute, only a flute fashioned by a person who qualifies as an Indian under the terms of the statute can legally be sold as a “Native American flute” or “American Indian flute”. However, although there is no official public ruling on alternative terms that are acceptable, it is general practice that any manufacturer or vendor may legally label their work-product by other terms such as “Native American style flute” or “North American flute”. Labels such as “in the style of”, or “in the spirit of”, or “replica” may also be used.

    However, while the Act applies to offering handmade arts and crafts offered to the public for sale, it does not apply to the use of Native American flutes in situations such as performance, workshops, or recording.

    Migratory Bird Treaty Act of 1918

    The Migratory Bird Treaty Act of 1918 makes it unlawful (without a waiver) to use materials from species protected by the Act in a musical instrument. This statute applies to the eagle-bone whistle, examples of which might or might not be classified as a Native American flute depending on the particulars of their construction

  • Clapper stick

    A clapper stick (also clap-stick or split stick rattle) is a traditional idiophone common among the indigenous peoples of California. It is traditionally constructed by cutting the branch of an elderberry tree, hollowing it out, and partially splitting the branch in two. It is used to keep time and accompany singers and dancers. Many are now made of bamboo, which do not require hollowing.

    Central Sierra Miwok: țakáț’a

    Chukchansi: tá-wit

    Chumash: wansak

    Hupa: kinah¬dun-ts’e:y’

    Maidu: pak’papa

    Mutsun: sallik

    Northern Paiute: hau tsavaiya

    Northern Pomo: hay bit’abit’aka

    Plains Miwok: taka’tta

    Serrano: pă-how-it

    Tongva: araawkewe

    Tubatulabal: ka*ba.ba.ynis’t

    Western Mono: anawataki’inu

    Wintu: lasasus

    Yuki: al-lah-chi’-mah

  • Apache fiddle

    The Apache fiddle (Apache: tsii’ edo’a’tl, “wood that sings”) is a bowed string instrument used by the indigenous Apache people of the southwestern United States. The instrument consists of a plant stalk, such as that of the agave or mescal plant. One or sometimes two strings, often made of horse hair, are secured at both ends of the stalk, a bridge and nut added, and the string is played with a bow resined with pine pitch. The string is touched with the fingers to change its note. The Smithsonian Institution holds an Apache fiddle collected in 1875. In 1989 Apache fiddle maker Chesley Goseyun Wilson of Tucson, Arizona won a National Heritage Award.

  • Kokopelli

    Kokopelli is a fertility deity, usually depicted as a humpbacked flute player (often with feathers or antenna-like protrusions on his head), who is venerated by some Native American cultures in the Southwestern United States. Like most fertility deities, Kokopelli presides over both childbirth and agriculture. He is also a trickster god and represents the spirit of music.

    Myths

    Among the Hopi, Kokopelli carries unborn children on his back and distributes them to women; for this reason, young girls often fear him. He often takes part in rituals relating to marriage, and Kokopelli himself is sometimes depicted with a consort, a woman called Kokopelmimi by the Hopi. It is said that Kokopelli can be seen on the full and waning moon, much like the “man” or the “rabbit” on the moon.

    Kokopelli also presides over the reproduction of game animals, and for this reason, he is often depicted with animal companions such as rams and deer. Other common creatures associated with him include sun-bathing animals such as snakes, or water-loving animals such as lizards and insects.

    In his domain over agriculture, Kokopelli’s flute-playing chases away the winter and brings about spring. Many tribes, such as the Zuni, also associate Kokopelli with the rains. He frequently appears with Paiyatamu, another flutist, in depictions of maize-grinding ceremonies. Some tribes say he carries seeds and babies on his back.

    In recent years, the emasculated (i.e. non-ithyphallic) version of Kokopelli has been adopted as a broader symbol of the Southwestern United States as a whole. His image adorns countless items such as t-shirts, ball caps, key-chains, and patio decor. He is also noticeable on the wall by the swimming pool on the home of Walter White (Bryan Cranston) in several episodes of Breaking Bad. A bicycle trail between Grand Junction, Colorado, and Moab, Utah, is now known as the Kokopelli Trail.

    Origins and development

    Kokopelli has been revered since at least the time of the Hohokam, Yuman, and Ancestral Puebloan peoples. The first known images of him appear on Hohokam pottery dated to sometime between 750 and 850 AD.

    Kokopelli may have originally been a representation of Aztec traders, known as pochtecas, who may have traveled to this region from northern Mesoamerica. These traders brought their goods in sacks slung across their backs and this sack may have evolved into Kokopelli’s familiar hump; some tribes consider Kokopelli to have been a trader. These men may also have used flutes to announce themselves as friendly as they approached a settlement. This origin is still in doubt, however, since the first known images of Kokopelli predate the major era of Mesoamerican-Ancestral Pueblo peoples trade by several hundred years, as well as the Aztec Empire and its pochtecas.

    Many believe that Kokopelli was more than a trader, and more significantly, an important conveyor of information and trinkets from afar. As a storyteller par excellence, Kokopelli had the gift of languages, with a formidable repertoire of body-language storytelling skills to complement his many talents. Kokopelli’s usual noisy announcement upon arrival secured both the identity, and therefore the safety, of his unique presence into a community. Often accompanied by an apprentice in his travels and trade, Kokopelli was important in linking distant and diverse communities together. In the South American Andes, the ‘Ekeko’ character functioned in much the same way. Upon arrival, his banging and clanging of his wares dangling all about his person signaled to all that a night of entertainment and trade of his goods and talismans was at hand.

    Even today, occasional outside visitors may be called or referred to as ‘Kokopelli’ when they bring news, stories, and trinkets from the outside world to share with the little pueblos or villages.

    Another theory is that Kokopelli is actually an anthropomorphic insect. Many of the earliest depictions of Kokopelli make him very insect-like in appearance. The name “Kokopelli” may be a combination of “Koko”, another Hopi and Zuni deity, and “pelli”, the Hopi and Zuni word for the robber fly, an insect with a prominent proboscis and a prominently rounded back. A more recent etymology is that Kokopelli means literally “kachina hump”. Because the Hopi were the tribe from whom the Spanish explorers first learned of the god, their name is the one most commonly used.

    Kokopelli is one of the most easily recognized figures found in the petroglyphs and pictographs of the Southwest The earliest known petroglyph of the figure dates to about 1000 AD. The Spanish missionaries in the area convinced the Hopi craftsmen to usually omit the phallus from their representations of the figure. As with most kachinas, the Hopi Kokopelli was often represented by a human dancer.

    A similar humpbacked figure is found in artifacts of the Mississippian culture of the United States southeast.Between approximately 1200 to 1400 AD, water vessels were crafted in the shape of a humpbacked woman. These forms may represent a cultural heroine or founding ancestor, and may also reflect concepts related to the life-giving blessings of water and fertility.

    Other names

    • Kokopele
    • Kokopeli
    • Kokopilli
    • Kokopilau
    • Neopkwai’i (Pueblo)
    • Ololowishkya (Zuni)
    • La Kokopel

  • Anasazi flute

    The Anasazi flute is the name of a prehistoric end-blown flute replicated today from findings at a massive cave in Prayer Rock Valley in Arizona, United States by an archaeological expedition led by Earl H. Morris in 1931. The team excavated 15 caves and the largest among them had 16 dwellings and many artifacts including several wooden flutes, which gave the site its name, the Broken Flute Cave.

    The flutes found in the cave were dated between 620 and 670 AD. They were all made of Box elder, have six finger holes and are end-blown. It is similar in many respects to a Hopi flute, which has only five finger holes.

    A detailed analysis using radiocarbon dating techniques was published in 2007. The analysis included one item from a burial pit in the Broken Flute Cave. The dating placed the artifact in the range 599–769 AD.

    The Anasazi flute has in recent years been reproduced and restored to the catalog of World flutes. While difficult to play in many respects, it has a rich, warm voice that can potentially span over three octaves.

  • Kazoo

    The kazoo is a musical instrument that adds a “buzzing” timbral quality to a player’s voice when the player vocalizes into it. It is a type of mirliton (which itself is a membranophone), one of a class of instruments which modifies its player’s voice by way of a vibrating membrane of goldbeater’s skin or material with similar characteristics. There is a smaller version of the kazoo, known as a humazoo

    Playing

    A kazoo player hums, rather than blows, into the bigger and flattened side of the instrument. The oscillating air pressure of the hum makes the kazoo’s membrane vibrate. The resulting sound varies in pitch and loudness with the player’s humming. Players can produce different sounds by singing specific syllables such as doo, too, who, or vrrrr into the kazoo.

    History

    Simple membrane instruments played by vocalizing, such as the onion flute, have existed since at least the 16th century. It is claimed that Alabama Vest, an African-American in Macon, Georgia, invented the kazoo around 1840, although there is no documentation to support that claim. The story originated with the Kaminsky International Kazoo Quartet, a group of satirical kazoo players, which may cast doubt on the veracity of the story, as does the name “Alabama Vest” itself.

    In 1879, Simon Seller received a patent for a “Toy Trumpet” that worked on the same principle as a kazoo: “By blowing through the tube A, and at the same time humming a sort of a head sound, a musical vibration is given to the paper covering c over the aperture b, and a sound produced pleasing to the ear.” Seller’s “toy trumpet” was basically a hollow sheet-metal tube, with a rectangular aperture cut out along the length of the tube, with paper covering the aperture, and a funnel at the end, like the bell of a trumpet. The first documented appearance of a kazoo was that created by an American inventor, Warren Herbert Frost, who named his new musical instrument kazoo in his patent #270,543 issued on January 9, 1883. The patent states, “This instrument or toy, to which I propose to give the name ‘kazoo’ “…” Frost’s kazoo did not have the streamlined, submarine shape of modern kazoos, but it was similar in that the aperture was circular and elevated above the length of the tube. The modern kazoo—also the first one made of metal—was patented by George D. Smith of Buffalo, New York, May 27, 1902.

    In 1916, the Original American Kazoo Company in Eden, New York started manufacturing kazoos for the masses in a two-room shop and factory, utilizing a couple of dozen jack presses for cutting, bending and crimping metal sheets. These machines were used for many decades. By 1994, the company produced 1.5 million kazoos per year and was the only manufacturer of metal kazoos in North America. The factory, in nearly its original configuration, is now called The Kazoo Factory and Museum. It is still operating, and it is open to the public for tours.

    In 2010, The Kazoo Museum opened in Beaufort, South Carolina with exhibits on kazoo history.

    Professional usage

    The kazoo is played professionally in jug bands and comedy music, and by amateurs everywhere. It is among the acoustic instruments developed in the United States, and one of the easiest melodic instruments to play, requiring only the ability to vocalize in tune. In North East England and South Wales, kazoos play an important role in juvenile jazz bands. During Carnival, players use kazoos in the Carnival of Cádiz in Spain and in the corsos on the murgas in Uruguay.

    In the Original Dixieland Jass Band 1921 recording of Crazy Blues, what the casual listener might mistake for a trombone solo is actually a kazoo solo by drummer Tony Sbarbaro.

    Red McKenzie played kazoo in a Mound City Blue Blowers 1929 film short. The Mound City Blue Blowers had a number of hit kazoo records in the early 1920s featuring Dick Slevin on metal kazoo and Red McKenzie on comb and tissue paper (although McKenzie also played metal kazoo). The vocaphone, a kind of kazoo with a trombone-like tone, was occasionally featured in Paul Whiteman’s Orchestra. Trombonist-vocalist Jack Fulton played it on Whiteman’s recording of Vilia (1931) and Frankie Trumbauer’s Medley of Isham Jones Dance Hits (1932). The Mills Brothers vocal group originally started in vaudeville as a kazoo quartet, playing four-part harmony on kazoo with one brother accompanying them on guitar.

    The kazoo is rare in European classical music. It does appear in David Bedford’s With 100 Kazoos, where, rather than having professionals play the instrument, kazoos are handed out to the audience, who accompany a professional instrumental ensemble. Leonard Bernstein included a segment for kazoo ensemble in the First Introit (Rondo) of his Mass. The kazoo was used in the 1990 Koch International and 2007 Naxos Records recordings of American classical composer Charles Ives’ Yale-Princeton Football Game, where the kazoo chorus represents the football crowd’s cheering. The brief passages have the kazoo chorus sliding up and down the scale as the “cheering” rises and falls.

    In Frank Loesser’s score for the 1961 Broadway musical comedy How to Succeed in Business Without Really Trying, several kazoos produce the effect of electric razors used in the executive washroom during a dance reprise of the ballad I Believe in You.

    In 1961, Del Shannon’s “So Long Baby” issued on Big Top Records featured a kazoo on the instrumental break. In addition to the single release it featured on the UK London American release of his album Hats Off To Del Shannon. Joanie Sommers’ 1962 hit single “Johnny Get Angry” featured a kazoo ensemble in its instrumental bridge, as did Dion’s hit of the same year, “Little Diane”, and Ringo Starr’s 1973 cover of “You’re Sixteen”.

    Jesse Fuller’s 1962 recording of his song “San Francisco Bay Blues” features a kazoo solo, as does Eric Clapton’s 1992 recording of the song on MTV’s Unplugged television show and album. On the song “Alligator” on the Grateful Dead album Anthem of the Sun, three members of the band play kazoo together. Many Paolo Conte performances include kazoo passages.

    Short kazoo performances appear on many modern recordings, usually for comic effect. For example, in his first album, Freak Out!, Frank Zappa used the kazoo to add comic feel to some songs — including one of his best known, “Hungry Freaks, Daddy”. In the song “Crosstown Traffic” from the album Electric Ladyland, Jimi Hendrix used a comb-and-paper instrument to accompany the guitar and accentuate a blown-out speaker sound. The song “Lovely Rita”, from the Beatles album Sgt. Pepper’s Lonely Hearts Club Band, uses combs-and-paper instruments. Kazoo playing parodied the sound of a military brass band in the Pink Floyd song “Corporal Clegg”.

    In the McGuinness Flint recording When I’m Dead and Gone, Benny Gallagher and Graham Lyle play kazoos in harmony during the instrumental break. The New Seekers’ live track (Ever Since You Told Me That You Loved Me) I’m A Nut features a kazoo solo by singer Eve Graham. British singer-songwriter Ray Dorset, the leader of pop-blues band Mungo Jerry, played the kazoo on many of his band’s recordings, as did former member Paul King.

    One of the best known kazooists of recent times is Barbara Stewart (1941–2011). Stewart, a classically trained singer, wrote a book on the kazoo, formed the “quartet” Kazoophony, performed kazoo at Carnegie Hall and on the Late Night with Conan O’Brien television show.

    The soundtrack of the film Chicken Run, released in 2000 and composed by John Powell and Harry Gregson-Williams, makes use of kazoos in several pieces.

    The video game Yoshi’s New Island, released in 2014, has synthesized kazoos in several tracks of its soundtrack.

    The Ukrainian polka band Los Colorados released a cover of Rammstein song “Du Hast”, which features a kazoo.

    In November 2010, Sandra Boynton produced and released a full-length 300-kazoo plus orchestra performance of Maurice Ravel’s Bolero, titled Boléro Completely Unraveled, performed by the Highly Irritating Orchestra. Boynton played solo kazoo on this recording noting “I am at the perfect level of musical incompetence for this.”

    Records

    On March 14, 2011, the audience at BBC Radio 3’s Red Nose Show at the Royal Albert Hall, along with a star-studded kazoo band, set a new Guinness World Record for Largest Kazoo Ensemble. The 3,910 kazooists played Wagner’s Ride of the Valkyries and the Dambusters March. This surpassed the previous record of 3,861 players, set in Sydney, Australia, in 2009. The current record of 5,190 was set later the same night in a second attempt.

    On August 9, 2010, the San Francisco Giants hosted a Jerry Garcia tribute night, in which an ensemble of an estimated 9,000 kazooists played “Take Me Out to the Ball Game.”

  • Alexandra Eala

    Alexandra Maniego Eala (born May 23, 2005) is a Filipino professional tennis player. She has a career-high singles ranking of No. 134 by the WTA, achieved on 27 January 2025. She is the highest-ranked Filipino singles player in WTA Tour history, surpassing Maricris Gentz. Eala was the No. 2 ranked junior on 6 October 2020. Eala won her first junior singles title at the 2022 US Open, making her the first Filipino player to win a junior Grand Slam singles title.

    Personal life

    Her mother Rosemarie “Rizza” Maniego-Eala is a 1985 Southeast Asian Games bronze medalist in the 100-meter backstroke and retired chief financial officer of Globe Telecom. She is the niece of Philippine Sports Commission chairperson and former Philippine Basketball Association commissioner Noli Eala. Her brother, Michael (Miko), played tennis for the Pennsylvania State University Nittany Lions from 2020 to 2024. She has been a student of the Rafa Nadal Academy in Manacor (Mallorca, Spain), since she was 12 years old.

    Career

    Juniors: First Filipino Grand Slam champion

    At the age of 12, Eala won the 2018 Les Petit As 14-and-under tournament, beating Linda Nosková in the finals. She made her junior major debut at the 2019 US Open. She was named the 2019 Milo Junior Athlete of the Year. Eala won the 2020 Australian girls’ doubles event, partnering Priska Madelyn Nugroho. They defeated Živa Falkner and Matilda Mutavdzic in the final.Eala peaked in the junior rankings at No. 2, after reaching the semifinals at the 2020 French Open girls’ singles competition.

    Following a major triumph at the French Open in 2021, Eala paid tribute to her roots on Independence Day. Partnering Russia’s Oksana Selekhmeteva, she claimed the girls’ doubles title as the tournament’s top seed. The pair defeated Maria Bondarenko of Russia and Amarissa Kiara Tóth of Hungary in the final.

    In September 2022, Eala became the first Filipino to win a junior Grand Slam singles championship and the only Filipino with multiple junior major titles. She defeated the No. 2 seed, Lucie Havlíčková of the Czech Republic, in the girls’ singles final of the US Open at the USTA Billie Jean King National Tennis Center in New York.

    Juniors Grand Slam performance
    Grand Slam performance – singles:

    Australian Open: 3R (2020)
    French Open: SF (2020)
    Wimbledon: 2R (2021)
    US Open: W (2022)


    Grand Slam performance – doubles:

    Australian Open: W (2020)
    French Open: W (2021)
    Wimbledon: 2R (2021)
    US Open: SF (2021)

    2020–2022: Turned pro, WTA Tour debut

    In March 2020, Eala made her debut on the ITF Women’s Circuit, as she played in the $15k event at Monastir, Tunisia, where she won her first professional match.

    In January 2021, she leaped to the top 1,000 in the WTA rankings, after winning the title at the first leg of the $15k Manacor event in Spain. She received a wildcard into the qualifying draw of the Miami Open where she lost to Viktória Kužmová in three sets in the first round. Eala made her first ITF doubles final at the $25k Platja d’Aro in Spain, playing with Oksana Selekhmeteva. They lost to Lithuania’s Justina Mikulskytė and Romanian Oana Georgeta Simion, 3–6, 5–7. In August 2021, she made her WTA Tour main-draw debut at the 2021 Winners Open in Cluj-Napoca, Romania, after receiving a wildcard. In her first match, she defeated Paula Ormaechea in straight sets. She lost in the second round to Mayar Sherif, also in straight sets.

    She received a wildcard making her WTA 1000 debut at the 2022 Miami Open, losing to Madison Brengle in the first round.Eala represented the Philippines at the 2021 SEA Games in Hanoi, Vietnam, which were postponed to May 2022 due to the COVID-19 pandemic. She earned a bronze medal in each of the three events she participated in: women’s team (with Marian Capadocia, Shaira Hope Rivera, and Jenaila Rose Prulla), mixed doubles (with Treat Huey), and women’s singles.

    2023–2025: First Filipino in WTA Tour semifinal and top 100

    In 2023, Eala made her debut in the qualifying draw of the Australian Open but she lost her first match to Misaki Doi in three sets. She qualified for the Thailand Open but lost in the first round to sixth seed Tatjana Maria. She received wildcards for the main draw at the 2023 Miami Open and at the Madrid Open. She entered the top 200 in August 2023, and reached a new career-high ranking of world No. 191 on 18 September 2023. At the Asian Games, she won two bronze medals, one in the women’s singles and the second in the mixed doubles with Francis Alcantara.

    Eala started the 2024 season in the Canberra Tennis International. In doubles, she partnered with the Brazilian player Laura Pigossi, reaching the semifinals. The Filipino-Brazilian duo was defeated by the Australian pair Kaylah McPhee and Astra Sharma in straight sets. She received wildcards for the qualifying draw at the 2024 Miami Open, and for the main draw at the Madrid Open. During the 2024 Miami Open, she stunned former world No. 5, Sara Errani, during the first round of qualifying winning in straight sets. However, in the second round of qualifying, she suffered cramps and lost to Emiliana Arango. At the Madrid Open, she recorded her first WTA 1000 win over Lesia Tsurenko. She then lost in three sets against 27th seed Sorana Cirstea.

    Eala entered the qualifying rounds of the 2024 French Open where she beat Ma Yexin of China and Taylah Preston of Australia to reach the final round, where she lost in another three-set match to Julia Riera of Argentina. For the Wimbledon Championships, she entered the qualifying rounds and reached the final qualifying match where she lost to eventual quarterfinalist Lulu Sun. After Wimbledon, Eala entered the 2024 Open Araba en Femenino, a W100 tournament, where she triumphed in both singles and doubles. She won the title in singles without dropping a set. In doubles, she and her partner Estelle Cascino, won their second doubles crown. She reached a new career-high ranking in both singles and doubles, at world No. 143 and No. 208 respectively on 22 July 2024. Eala entered the 2024 US Open qualifying competition, where she again reached the final qualifying round, losing to 20th seed Elena-Gabriela Ruse. She qualified for the main draw of the WTA 500 Guadalajara Open , losing in the first round to sixth seed Marie Bouzková.

    Ranked No. 140, Eala received a wildcard entry at the 2025 Miami Open where she defeated Katie Volynets and 25th seed Jeļena Ostapenko to reach the third round for the first time at the WTA 1000-level. She went one step further and defeated world No. 5, Madison Keys, to reach a WTA 1000 fourth round for the first time, her first top-10 and also top-5 win. Eala became the first Filipino player in the Open Era to beat a top-10 player, since the WTA Tour rankings for women’s tennis were first published in 1975. Eala was also the first player ranked outside the top 100 to reach the round of 16 in a 1000 event in the season.Eala reached her first WTA 1000 quarterfinal after receiving a walkover from Paula Badosaand then upset world No. 2, Iga Świątek, in straight sets to reach her first career semifinal. She became the first Filipino in WTA Tour history to reach the semifinal stage and the third player overall to reach her first WTA Tour semifinal in Miami after Mary Joe Fernández and Danielle Collins. Eala also became the first Filipino to make her debut in the top 100 in the history of the WTA rankings.She lost in the last four to world No. 4, Jessica Pegula, in three sets.

  • Iga Świątek

    Iga Natalia Świątek born 31 May 2001) is a Polish professional tennis player. She has been ranked as the world No. 1 in women’s singles by the Women’s Tennis Association (WTA), having held the position for a total of 125 weeks (seventh on the all-time list). Świątek has won 22 WTA Tour-level singles titles, including five major titles: four at the French Open and one at the US Open. She has also won the 2023 WTA Finals and ten WTA 1000 titles. Świątek is the first Pole to win a major singles title.

    As a junior, Świątek was the 2018 French Open girls’ doubles champion alongside Caty McNally and the 2018 Wimbledon girls’ singles champion. She began playing regularly on the WTA Tour in 2019, and entered the top 50 at 18 years old after her first Tour final and a fourth-round appearance at the 2019 French Open. In 2020, Świątek won her first major at the French Open in dominant fashion, losing no more than five games in any singles match. She entered the top ten of the WTA rankings for the first time in May 2021.

    In early 2022, Świątek surged into dominant form with a 37-match winning streak, the longest on the WTA Tour in the 21st century, becoming world No. 1 in the process. With major titles at the French and US Opens, she finished 2022 as the world’s best player. She repeated the year-end No. 1 feat in 2023 by defending her French Open title and claiming the WTA Finals, and won the French Open for a third straight edition in 2024. She has claimed the French Open title at four of her six appearances at the tournament, having never lost a match before the fourth round.

    Świątek has an all-court playing style. She won the WTA Fan Favorite Shot of the Year in 2019 with a drop shot from the baseline, and was voted WTA Fan Favorite Singles Player of the Year in 2020. In 2023, she was named L’Équipe Champion of Champions and Polish Sports Personality of the Year and included on Time’s annual list of the 100 most influential people in the world. In 2025, Świątek made it to the Madame Tussauds Hot 100 list for her philanthropic act and advocacy.

    Early life and background

    Iga Świątek was born on 31 May 2001 in Warsaw to Dorota and Tomasz Świątek. Her father is a former rower who competed in the men’s quadruple sculls event at the 1988 Seoul Olympics, while her mother is an orthodontist. She has a sister, Agata, who is about three years older and is a dentist.

    Their father wanted his daughters to become competitive athletes and preferred they take up an individual sport rather than a team sport to have better control of their chances of success. Agata started out as a swimmer but switched to tennis. Agata briefly competed on the ITF Junior Circuit in 2013 at about 15 years old, but stopped playing due to injury troubles. Iga followed her sister into tennis because she wanted to beat her and also because she wanted to be more like her. Iga trained at Mera Warsaw as a 14-year-old before later moving to Legia Warsaw.

    Junior career

    Świątek reached a career-high ranking of No. 5 as a junior player. She began competing in ITF Junior Circuit events in 2015 and won back-to-back low-level Grade 4 titles in April and May at age 13. Before the end of the year, she moved up to Grade 2 events and finished runner-up in both singles and doubles at the Czech Junior Open. Świątek made her junior Grand Slam tournament debut in 2016 at the French Open, reaching the quarterfinals in both singles and doubles. She followed this up with her best junior title to date at the Grade 1 Canadian Open Junior Championships, defeating Olga Danilović in the final.

    Świątek had a strong first half of 2017. She won both the singles and doubles titles at the Grade 1 Traralgon Junior International. Although she lost her opening round match at the Australian Open, she partnered with compatriot Maja Chwalińska to make her first final in a major tournament, finishing runner-up in doubles to the North American team of Bianca Andreescu and Carson Branstine. She then reached her first Grade A singles final at the Trofeo Bonfiglio, losing to Elena Rybakina. Her season came to an end after another quarterfinal at the French Open, after which she had right ankle surgery that kept her out for seven months.

    Despite only competing in two Grand Slam tournaments in 2018 and three singles events in total, Świątek finished her junior career with her best season. She returned to the junior tour at the French Open after a one-year absence and reached the semi-finals in singles, losing to Caty McNally. She fared better in doubles, partnering with McNally to win her first junior major title. They defeated the Japanese team of Yuki Naito and Naho Sato in the final.

    Świątek played only singles at Wimbledon. As an unseeded player due to her absence, she was drawn against top seed Whitney Osuigwe in the first round. After winning that match in three sets, she did not drop another set during the rest of the tournament and won the championship for her only junior major singles title. She defeated Leonie Küng in the final.Świątek then teamed up with the Slovenian Kaja Juvan to compete in the 2018 Summer Youth Olympics. They reached the final and defeated the Japanese team of Yuki Naito and Naho Sato. She then finished her junior career.

    Professional career

    2016–2018: Seven ITF Circuit championships

    Świątek began competing on the ITF Women’s Circuit in 2016 and played on the circuit through the end of 2018. She won all seven ITF singles finals she reached, ranging from the first four at the $10k to $15k level to one at the $25k level followed up by two at the $60k level. Her first three titles came at 15 years old. The fourth was in February 2018 in her first tournament back from a seven-month layoff due to injury. After a $25k title in April, Świątek moved up to higher-level ITF events later that month. Following her junior Wimbledon title in July, she skipped the junior US Open to stay in Europe. During the two weeks of the US Open, she won back-to-back $60k titles at the NEK Ladies Open in Hungary and the Montreux Ladies Open in Switzerland. During the second event, she defeated top seed and world No. 120, Mariana Duque-Mariño.These were Świątek’s last two ITF tournaments of the year. With these two titles, she entered the top 200 for the first time at the age of 17, rising from No. 298 to No. 180 in those two weeks.

    2019: First WTA Tour final, top 50

    Despite never playing on the WTA Tour before 2019, Świątek was able to compete in only tour-level events throughout the year. After failing to qualify at the Auckland Open, she qualified for her first major main draw at the Australian Open. She then defeated No. 82 Ana Bogdan, in three sets, in her debut match to reach the second round. At her next three tournaments, she also qualified at the Hungarian Ladies Open, but not at either of the Premier Mandatory events in March.

    Świątek made her first WTA breakthrough at the Ladies Open Lugano in April. With her first direct acceptance into a main draw, she made her first WTA final. During the event, she upset No. 3 seed Viktória Kužmová in the second round for her first top 50 victory. She ultimately finished runner-up to Polona Hercog in three sets. Moreover, a precise cross-court forehand drop shot she hit against Kristýna Plíšková in the semi-final was voted the 2019 WTA Shot of the Year. With the runner-up, she also made her debut in the top 100 while still 17 years old. Świątek closed out her clay court season with a fourth round appearance at the French Open in her second major. She upset No. 16 Wang Qiang in the second round for her first top 20 victory before losing to defending champion Simona Halep.

    Świątek could not repeat her French Open success at the remaining major tournaments of the year, losing her opening match at Wimbledon and in the second round at the US Open. Her best result in the second half of the season was a third round appearance at the Canadian Open. During the event, she upset No. 18, Caroline Wozniacki, before losing to No. 2, Naomi Osaka. With this result, she entered the top 50 for the first time a week later. She missed the rest of the season after the US Open to undergo foot surgery and finished the year at No. 61 in the world.

    2020: French Open singles title, top 20

    Świątek made her return to the WTA Tour at the Australian Open. She matched her best result at a major with another fourth-round appearance, this time highlighted by a victory over No. 20, Donna Vekić. She defeated Vekić again at the Qatar Open, her last match win before the WTA Tour was shut down for six months due to the COVID-19 pandemic. Świątek continued her major tournament success once the tour resumed. She reached the third round at the US Open, losing to eventual runner-up Victoria Azarenka.

    Entering the rescheduled French Open in September, Świątek was ranked No. 54 in the world. Nonetheless, she won the singles event for her maiden WTA title. During the tournament, she defeated 2019 runner-up and world No. 19, Markéta Vondroušová, in the opening round. Her biggest upset was a victory in the fourth round over top seed and world No. 2, Simona Halep, who was on a 17-match win streak and was also the heavy favourite to win the title. She only lost three games against Halep after winning just one game against her in the same round of the French Open the previous year. Świątek defeated world No. 6, Sofia Kenin, in the final to become the first Polish player to win a major singles title and the lowest-ranked French Open champion in the history of the WTA rankings. She also became the youngest singles champion at the tournament since Rafael Nadal in 2005 and the youngest women’s singles winner since Monica Seles in 1992. She won the title without dropping a set or more than five games to any opponent, and the 28 games she lost in total were tied for the second-fewest among French Open singles champions in the Open Era behind only the 20 games Steffi Graf lost in 1988. With the title, Świątek rose to No. 17 in the world. She also played the doubles event, partnering with Nicole Melichar for the first time. The pair reached the semi-finals, and also did not drop a set until their last match.

    2021: Italian Open champion, top 10

    At the Australian Open, Świątek was seeded 15th and recorded wins over Arantxa Rus, Camila Giorgi and Fiona Ferro. She reached the fourth round where she lost to Simona Halep, in three sets. At Adelaide, she won her first WTA Tour title without dropping a set in the whole tournament. She defeated Belinda Bencic in the final, in straight sets. As a result, she entered the top 15 for the first time in her career, in March 2021.

    Seeded 15th, Świątek won her first career WTA 1000-title at the Italian Open, defeating former champion Karolína Plíšková in just 46 minutes without the loss of a single game. She advanced to the final after defeating two-time champion and world No. 5, Elina Svitolina, and the second best-ranked teenager Coco Gauff on the same day, as well as saving match points in her third-round match against Barbora Krejčíková. Świątek became the third player to win a title after saving match point en route in 2021, alongside Naomi Osaka at the Australian Open and Ashleigh Barty in Miami. She also became the fourth teenager to win a WTA 1000 event.This successful run to her third career title moved her into the top 10 in the singles rankings on 17 May 2021, as world No. 9.

    At the French Open, Świątek was seeded at No. 8. She opened her title defense winning against Kaja Juvan in the first round, and then defeated Rebecca Peterson, Anett Kontaveit and Marta Kostyuk. She won 22 straight sets at the French Open but then lost in the quarterfinals to Maria Sakkari. In doubles, seeded 14th with Bethanie Mattek-Sands as a pair, playing just their third event together, they reached the final where they were defeated by Barbora Krejčíková and Kateřina Siniaková in straight sets. As a result, Świątek reached the top 50 at a career-high ranking of No. 42 in doubles for the first time in her career.

    She started her grass-court season at the Eastbourne International where she was seeded at No. 4. After defeating Heather Watson, she lost to Daria Kasatkina in the second round. As the seventh seed at Wimbledon, Świątek defeated Hsieh Su-wei, Vera Zvonareva, and Irina-Camelia Begu, all in straight sets. In the fourth round, she lost to Ons Jabeur, in three sets. With her win over Anett Kontaveit in the third round of the US Open, she became the only player to have reached the second week of all four major championships in the 2021 season. She qualified for the WTA Finals for the first time in her career.

    2022: World No. 1, two major titles, 37-match winning streak

    Świątek started her season by reaching the semifinals at the Adelaide International. She then reached another semifinal at the Australian Open. Following a second-round match loss against Jeļena Ostapenko, Świątek won the next six tournaments she entered — Qatar Ladies Open, Indian Wells Open, Miami Open, Stuttgart Open, Italian Open and, for her second major title, French Open — before losing to Alizé Cornet at Wimbledon in the third round. Świątek reached the world No. 1 singles ranking, and became the fourth as well as the youngest woman (11th player overall) to complete the Sunshine Double in the process. She also accumulated a 37-match win streak, the longest in the 21st century. Świątek had a lacklustre performance throughout the summer. She lost to Caroline Garcia in the quarterfinals in Warsaw, Beatriz Haddad Maia in the third round in Toronto and Madison Keys in the third round in Cincinnati. However, she returned on form at the US Open, winning her third major by defeating Ons Jabeur in the final. She became the first woman to win both the French Open and US Open in the same season since Serena Williams in 2013.

    Świątek reached the final at the Ostrava Open, but she lost to Barbora Krejčíková in a three-set match that lasted 3 hours and 16 minutes, the longest match of her career so far. She subsequently played at the San Diego Open, winning her eighth title by defeating Donna Vekić, in three sets. At the 2022 WTA Finals held in Fort Worth, Texas, Świątek won the group stage without dropping a set, defeating Daria Kasatkina, Caroline Garcia and Coco Gauff, respectively. However, she was upset by Aryna Sabalenka in the semi-finals in three sets. Nevertheless, she finished the season as year-end No. 1 and posted a record win-loss 67–9 in 2022, the most wins in a single season since Serena Williams in 2013. She also became the first player since Serena Williams in 2013 to collect over 11,000 ranking points in a single season. She accumulated the second highest ranking points total in WTA history, second only to Serena Williams in 2013.

    2023: French and WTA finals champion, No. 1

    Świątek’s 2023 campaign was statistically less dominant than her 2022 season, but she still managed to win six titles in the year. She started 2023 as only the fourth woman in WTA history to be ranked world No. 1 for 40 or more consecutive weeks in their first stint as the top-ranked player. In her first tournament of the year representing Poland at the United Cup, she partnered with her compatriots including Hubert Hurkacz and reached the semi-finals. At the Australian Open, she lost in the fourth round in straight sets against Elena Rybakina, who would upset Świątek two more times later in the year, respectively in the semi-finals at the Indian Wells Open and in the quarterfinals at the Italian Open.

    She did not win any tournament until the Qatar Ladies Open, where she did not drop a set throughout the tournament and only lost five games. The clay season saw her successfully defend her Stuttgart Open title, as well as winning her fourth major at the French Open by defeating Karolína Muchová in the final.After improvement on the grass court with a quarterfinal performance at Wimbledon, which ended her 14-match win streak, she won her home tournament at the Poland Open.

    At the US Open, Świątek lost in the fourth round against Jelena Ostapenko, which ended her reign at world No. 1. Her 75-week reign at No. 1 is the third-longest streak in the Open Era among players in their first stint as the top player, behind only Steffi Graf and Martina Hingis. Nevertheless, she went on to win the China Open. At the WTA Finals, she won the title without dropping a set, becoming the first player to do so since Serena Williams in 2012. She also dropped just 20 games throughout the entire tournament, the fewest since the reintroduction of the round-robin format in 2003 and beat Serena Williams’s record of 32 overall games dropped. By conceding only one game to Jessica Pegula, Świątek also broke the record for fewest games lost in a final, previously held by Martina Navratilova in 1983 and Kim Clijsters in 2003 (two each).Winning the title saw her reclaiming the top ranking and clinching year-end No. 1 for the second season in a row.

    2024: French Open title, Olympic bronze, positive test

    Świątek entered the United Cup in an international team competition representing Team Poland. She reached the final winning all of her singles matches and received the MVP award of the event. In the third round of the Australian Open, she was upset by Linda Nosková in three sets and as a result of this loss her 18 match winning streak, which started in September 2023, came to an end. Despite this earlier loss she kept her world No. 1 ranking.

    In February, Świątek entered the Qatar Ladies Open as a two-time defending champion. She reached the final after having defeated Sorana Cîrstea, 14th seed Ekaterina Alexandrova and Viktoria Azarenka. In the final, she faced Elena Rybakina winning in straight sets and claiming her seventh WTA 1000 title. Świątek did not drop a set en route to the title for the second consecutive year. She also became the first person to win three consecutive titles in Doha and the first player to win three consecutive titles at the same hardcourt tournament since Serena Williams in 2015. At the next WTA 1000 tournament in Dubai, she reached back-to-back quarterfinals defeating 15th seed Elina Svitolina in the round of 16. She was the fourth player since the WTA-1000 format’s introduction in 2009 the make the quarterfinals in 9+ consecutive appearances (between Dubai 2023 – Dubai 2024) after Serena Williams, Maria Sharapova and Agnieszka Radwańska. She then advanced to the semifinals where she lost to Anna Kalinskaya in straight sets.

    In March, Świątek won the Indian Wells Open for a second time, defeating Maria Sakkari in the final. This was her second title of the season and 19th overall. In Miami, she recorded her 100th WTA 1000 career match win defeating Camila Giorgi in one hour, in straight sets.

    In April, Świątek entered the Stuttgart Open as a two-time defending champion and reached the semifinal where she lost to Elena Rybakina in three sets, which ended her 10-match winning streak in the tournament. In the same month, she entered her 100th week as the reigning world No. 1 surpassing Lindsay Davenport and moving to the ninth place in the all-time table.At the Madrid Open, she reached the final where she faced the defending champion and 2nd seed Aryna Sabalenka. Świątek played the longest match against Sabalenka in her career thus far, which lasted over three hours. Świątek saved three championship points in the third set and won her 20th career title.The match has been praised as a classic and the best of their rivalry,with Świątek stating that it was “the most intense and crazy final” she has played.

    In May, at the next WTA 1000, the Italian Open, she reached a second consecutive final with a win over world No. 3 Coco Gauff in straight sets. In the final, she beat again Aryna Sabalenka, this time in straight sets, becoming the most successful Polish tennis player in terms of the number of titles won surpassing Agnieszka Radwańska with 21. It was also her tenth WTA 1000 title and fourth on clay, and the third in Rome. She became the third female player after Serena Williams and Dinara Safina who completed the Madrid-Rome sweep, and the first player, female or male, to achieve it since 2013 when both Williams and Rafael Nadal won Madrid and Rome.

    Świątek won the 2024 French Open, which was her third French Open title in a row and fourth overall. Świątek only lost one set during the tournament, which was to Naomi Osaka in the second round, where Osaka held match point in the third set. After defeating Osaka, Świątek lost only 17 games, defeating Marie Bouzková in the third round, Anastasia Potapova in the fourth round, Markéta Vondroušová in the quarterfinal, Coco Gauff in the semi-final, and Jasmine Paolini in the final. Świątek became the third player in history to win three consecutive French Open titles, after Monica Seles and Justine Henin had done so, and the second woman to win Madrid, Rome, and the French Open in the same season, after Serena Williams in 2013.

    Świątek’s overall match win record during the 2024 spring clay court swing was 21–1, losing only to Elena Rybakina in Stuttgart in April. Since her loss there, Świątek has been on a 19-match winning streak.

    Having not played since her French Open triumph, Świątek lost in round three at the 2024 Wimbledon Championships to Yulia Putintseva, thus ending her 21-match winning streak.

    At the 2024 Summer Olympics, Świątek defeated Irina-Camelia Begu, Diane Parry, Wang Xiyu and Danielle Collins. In the semifinal, she lost to the eventual gold medalist Zheng Qinwen in straight sets. This marked Świątek’s first loss in Paris after 1,149 days of staying undefeated. In the bronze medal match, she beat Anna Karolína Schmiedlová in straight sets becoming the first player from Poland to win an Olympic medal in tennis.

    At the Cincinnati Open, Świątek reached the semifinals where she lost to the eventual champion Aryna Sabalenka. At the 2024 US Open, Świątek lost in the quarterfinals to fifth seed Jessica Pegula. She played at the WTA Finals as the No. 2 seed and defending champion, but lost to Coco Gauff in two sets. Her defeat meant Sabalenka would finish the year as WTA No. 1, however the ITF proclaimed Świątek its year-end world champion for 2024.

    Świątek received a one-month suspension in November 2024 following a positive test for a banned substance trimetazidine. The drug was found to be a contaminant in a sleep medication melatonin she was taking, so she was handed a penalty that was at the lowest end of the range for “No Significant Fault or Negligence”.Nevertheless, she had to miss three tournaments while her case was being considered and forfeit her prize money from the Cincinnati Open.

    2025: United Cup final, No. 2

    Świątek entered the United Cup representing Team Poland for the third time in her career. With her team, Świątek advanced to the final that was won by Team United States.In this edition, Świątek played five singles matches and lost only one of them, against Coco Gauff in the final tie. She also played two mixed doubles matches: one alongside Hubert Hurkacz and the other alongside Jan Zieliński. She and her partners won both those matches.

    At the Australian Open, Świątek made it to her first semifinal since 2022, but lost to eventual champion Madison Keys in three sets despite winning the first set and holding a match point in the deciding set. At the Qatar Open, Świątek reached the semi-finals before losing to Jeļena Ostapenko, extending their head-to-head to 0-5. She was then defeated in the quarter-finals of the Dubai Championships by the eventual champion, Mirra Andreeva. In the semi-finals of the Indian Wells Open, Świątek again lost to Andreeva, this time in three sets.

    National representation

    Junior competitions

    Świątek represented Poland at the ITF World Junior Tennis Finals for 14-and-under girls twice in 2014 and 2015. She won all of her matches in 2014 to lead Poland to a ninth-place finish out of 16 teams. The following year, she helped Poland go undefeated in the round robin stage to reach the semi-finals. Świątek moved up to the 16-and-under Junior Fed Cup in 2016, where she played alongside Maja Chwalińska and Stefania Rogozińska-Dzik. Poland won the title, defeating the United States 2–1 in the final. Świątek won both of her rubbers in the final tie, defeating Amanda Anisimova in singles before partnering with Chwalińska to defeat Caty McNally and Claire Liu in the decisive doubles rubber. The last event of Świątek’s junior career was the 2018 Summer Youth Olympic Games. Although she lost in the quarterfinals in singles to Clara Burel, she partnered with Slovenian Kaja Juvan to win the gold medal in doubles. In the final they defeated Naito and Sato, who were also Świątek’s opponents in the French Open doubles final earlier in the year.

    Billie Jean King Cup

    Świątek made her senior Billie Jean King Cup debut in 2018 when Poland was in Europe/Africa Zone Group I. To advance out of this group, Poland needed to win their round-robin group, a play-off tie against one of the other round robin group winners, and then another play-off tie as part of the separate World Group II Play-off round. They did not win their round-robin group in 2018 or 2019. Świątek won her only singles match in 2018. While she only won one of her three singles matches in 2019, she won both of her doubles rubbers while partnering with Alicja Rosolska. The following year, the format was changed so that Poland only needed to finish in the top two out of three teams in their round-robin group to reach the promotional play-off. Nonetheless, they won their group and defeated Sweden 2–0 in the play-off to advance to the separate Play-off round. Świątek won all three of her singles matches in the 2020 Europe/Africa Zone Group I round,before skipping the Play-offs themselves. The following edition in 2022 had Poland facing Romania in the qualifying round, with Świątek winning her two games to help the team move on to the Finals. However, she did not attend the finals because the decisive round started very soon after the 2022 WTA Finals. The rib injury Świątek encountered shortly after exiting the 2023 Indian Wells Open also caused her to miss Poland’s 2023 Billie Jean King cup qualifier against Kazakhstan in Astana. Overall, Świątek has a 9–3 record at the Fed Cup, comprising 7–2 in singles and 2–1 in doubles. In 2024, Świątek participated in a match against Switzerland winning two matches in singles and contributing to Poland’s 4–0 win, which secured the country’s place in November’s Finals in Seville for a third consecutive year.

    Świątek helped Poland reach the semifinals of the 2024 BJK Cup with wins in singles and in doubles partnering compatriot Katarzyna Kawa over Czechia. It was the first semifinals in the BJK Cup Finals in their nation’s history.

    Rivalries

    Aryna Sabalenka

    Świątek and Aryna Sabalenka have met 12 times since 2021, with Świątek leading the head-to-head at 8–4 in official competitions. Their rivalry is seen as having a potential to be counted among those that shape the history of tennis. Their most lauded match is the 2024 Madrid Open final in which Świątek defeated defending champion Sabalenka in three sets after 3 hours and 11 minutes, also saving three championship points in the process.

    Coco Gauff

    Świątek and Coco Gauff have met 14 times since 2021, with Świątek leading the head-to-head at 11–3 in official competitions. Their last two matches, in the 2024 WTA Finals and 2025 United Cup final were won by Gauff. They have played each other three times at majors, with all of these matches won by Świątek in straight sets: 2022 French Open final, 2023 French Open quarterfinal, and 2024 French Open semifinal.

    Playing style

    Świątek has an aggressive, all-court style of play and incorporates a lot of variety into her game. Because her game style is focused on offence, she typically generates high amounts of both winners and unforced errors.She has described her style of play on clay as “a big serve, topspin, and backhand down the line”. Despite her aggressive style of play, she plays with margin, and constructs points carefully until she creates an opportunity to hit a winner, and in all seven of her matches played at the 2020 French Open, she hit more winners than unforced errors. In total at the French Open that year, she hit 175 winners to 127 unforced errors. The basis of Świątek’s game was described by tennis journalist Christopher Clarey for The New York Times as: her sliding ability, allowing her to defend from the corners à la Kim Clijsters and Novak Djokovic, a “sprinter’s speed” when moving forward to the net, power and topspin akin to her idol Rafael Nadal, and mental strength forged through sports psychology.

    Her forehand and backhand are fast and powerful, with her forehand being hit with significant topspin due to her employing an extreme western grip; on her run to the title at the French Open in 2020, Świątek’s average forehand speed was 73 mph (117 km/h), only 4 km/h below that of the average male forehand speed. She even hit some forehands up to 79 mph (127 km/h), the fastest of any female player in the draw and exceeded only by Jannik Sinner on the men’s side. Her forehand topspin reached 3,453 rpm at the French Open, comparable with her idol Rafael Nadal. Świątek’s backhand speed peaked at 76 mph (122 km/h) at the French Open, the fastest of any female player in the draw, and equal to Dominic Thiem’s backhand speed, the fastest of any male player at the French Open.Considering her dominance on clay, Świątek is often called the “Queen of Clay”.

    Świątek aims to come to the net, and has good volleying skills due to her doubles experience. Świątek possesses an accurate first serve, peaking at 123 mph (198 km/h), and averaging at 108 mph (174 km/h), allowing her to serve aces, dictate play from the first stroke, and win a majority of first-serve points. She possesses an effective kick serve, and an effective slice serve, which are deployed as second serves, preventing opponents from scoring free points. In earlier years of her career, she regularly used the drop shot, and won the 2019 WTA Shot of the Year with a cross-court drop shot from the baseline that landed on the sideline well inside the service box.Since the beginning of her collaboration with Tomasz Wiktorowski, she simplified her game and currently very rarely employs this shot.Świątek aims to gain the advantage in a point by hitting the ball early on the rise. Further strengths include her exceptional speed, movement, and court coverage, detailed and intricate footwork, and intelligent point construction. Her favourite surface is clay, having grown up playing on that surface, although she has had success on all surfaces. Her clay court success is enhanced by her ability to slide on the surface; as her career has progressed, she has also developed the ability to slide on hard and grass courts, too.

    Świątek finished runner-up to Simona Halep in the voting for the WTA Fan Favorite Singles Player of the Year award in 2019. In 2020, she was voted the WTA Fan Favorite Singles Player of the Year.

    Bagels and Breadsticks

    Over Świątek’s WTA career up until May 2024 an average of 40.6 percent of her matches have included either a 6–0 (bagel) set or a 6–1 (breadstick) set. As a result, many have started to use the term “Iga’s Bakery” to describe this. During the 2023 season she won a bagel set in 29 percent of her matches compared with an average of 11.4 per cent of matches for matches in which she wasn’t playing.Her closest bagel rivals are Coco Gauff and Jessica Pegula, both of whom scored eight in 2023.

    As of June 2024, she has dispensed the rarer double bagel eight times in her WTA career, two of which have come during major tournaments (which were against Xinyu Wang in the 2023 French Open and against Anastasia Potapova in the 2024 French Open).

    Coaching team

    Świątek’s primary coach in her early junior years was Michał Kaznowski, who she worked with up to the 2016 French Open. Jolanta Rusin-Krzepota was her physical preparation trainer for almost four years through the end of the 2019 US Open. Świątek was coached by Piotr Sierzputowski beginning in 2016.While Sierzputowski was her coach, British former professional tennis player and former Polish Davis Cup coach Nick Brown also served as a main consultant on occasion. Świątek also works with sports psychologist Daria Abramowicz and fitness trainer/physiologist Maciej Ryszczuk.

    In December 2021, Świątek announced that she was splitting from Sierzputowski after nearly six years working together. She wrote, “This change is really challenging for me, and this decision wasn’t easy, either”. Świątek had hired Sierzputowski when she was 15 and still playing in junior tournaments. From the end of 2021 until October 2024, she was coached by Tomasz Wiktorowski, who also previously worked with Agnieszka Radwańska. In October 2024 it was announced that she had parted ways with Wiktorowski, appointing Wim Fissette as his replacement later that month.

    Endorsements

    Świątek is now sponsored by the Roger Federer-backed Swiss company On for clothing and shoes, as of 20 March 2023, and became the first female tennis player to be sponsored by On. She had been sponsored by Asics for clothing and shoes since the start of 2020. She was previously sponsored by Nike. Świątek was also previously endorsed by the Red Bull energy drink company, the Chinese tech giant Xiaomi and the Lexus division of the Toyota automaker company, the latter of which have also sponsored fellow Polish tennis player Agnieszka Radwańska. From February 2021 till January 2024 her main partner was Poland’s biggest insurance company PZU. In 2021, Świątek signed an endorsement deal with Tecnifibre for racquets; she previously used a Prince Textreme 100 Tour racquet, although she was not under contract with the company. To celebrate the victory at the 2022 French Open with a Tecnifibre racquet and to recognise the female athlete, the company changed its marketing name to Swiateknifibre and its trademark to the colours white and red for seven days. It was the first women’s major title for this manufacturer. Świątek’s father also confirmed that she had also signed a contract with Rolex in 2021. After winning her third major title at the 2022 US Open, Świątek parted ways with her long-term manager, and began to be represented by IMG with agent Max Eisenbud.In 2023, Świątek announced that she has become a global ambassador for the Polish sports drink Oshee. She will also release collaboration line with the brand, including her own drink flavour and bottle design. On 26 June 2023, Swiatek has announced her partnership with Porsche. In August 2023, Swiatek has been announced as a global ambassador of VISA. On 25 August 2023, Infosys has announced Swiatek as their global brand ambassador alongside Rafael Nadal. In April 2024, Świątek became the brand ambassador of Lancôme.

    Charity work and philanthropy

    Since 2021 Świątek has been involved with The Great Orchestra of Christmas Charity. She has put up her winning racket from the final of her first French Open, the racket ended up getting sold with the price of 131,300 zł, which outpriced the signed Champions League winning kit of Robert Lewandowski, money helped to fund new equipment for pediatric ENT, otolaryngology and head diagnostics. In 2022, while playing at the Australian Open, she put up another racket, this time from final of Italian Open, but this time the offer also included training with the buyer. Besides the racket Świątek also put her signed Tokyo Olympics 2020 kit, her signature cap and multiple tennis balls with autographs up for auction. The offer was yet again met with a lot of interest and in the end was sold for 189,100 zł, which was the second best seller. The money would help to fund equipment for pediatric ophthalmology. In 2023, Świątek put up her winning racket with which she won both US Open and French Open in 2022. Besides the racket, she also included a double invitation to her first-round match in Roland Garros 2023 and an opportunity to meet her in person behind the scenes after the match. The pass would also allow the winners of the auction to watch all matches on the said day for free. All proceeds would go to funding medication for sepsis. Świątek’s offer was auctioned for 300,300 zł, making it the most expensive auction.

    Świątek and her team have also been taking part in the Noble Gift project since 2020. It helps to provide families, which have found themselves in difficult financial circumstances for reasons beyond their control during the Christmas period.

    Świątek also took part in auction for SOS Children’s Villages- Poland, putting up her autographed cap from Miami Open.In one of interviews the teacher from Świątek’s elementary school in Raszyn revealed that after winning her second French Open title, she pledged to help upgrade the school’s sports facilities, among which was a single tennis court. She also donated the shirt she wore in the final, tennis balls and her cap to the school, all signed for auction to raise money for one of the students who needed urgent and expensive medical treatment.

    In November 2021, Świątek was announced in line-up for Africa Cares Tennis Challenge tennis exhibition in Johannesburg, which was aimed to not only promote tennis in South Africa but was to be used as a vehicle in the fight against Gender-Based Violence through campaigns and activations leading up to the main event. Other players in the line-up included Simona Halep, Venus Williams, Sloane Stephens and Martina Hingis. On 30 November it was announced event was cancelled due to concerns regarding growing amount of cases of Covid-19 infections.

    Advocating for mental health awareness

    On 10 October 2021, Świątek donated $50,000 of her prize money in support of World Mental Health Day, after progressing to the last 16 of the Indian Wells Open. “I would say in sports, for me, it was always important to use that kind of help because I always thought that in my mental toughness there is some strength that I can use on court and I can also develop in that manner,” she said. After winning in at the French Open in 2020, Świątek revealed that using her sports psychologist, Daria Abramowicz, had helped her get over the line. “It’s just good to stay open-minded. If you need that kind of help, then go for it. If you’re up to it and if you’re open-minded, I think it helps a lot,” Świątek added.

    In her runner-up speech after losing the final to Barbora Krejčíková on the Ostrava Open on 9 October 2022, Świątek announced she will donate all of her prize money (€58,032) won in the tournament to Polish non-profit organizations and foundations to celebrate World Mental Health Day. “This is the most difficult moment of this tournament for me. I do not know what to say. Thank you so much. Whether I win or not, I am fulfilling my dreams, and you with me. I wish I won cause I would be able to donate more but I would like to announce that I will donate my prize money to non-profit organisations in Poland on Monday, which is World Mental Health Day. I hope this money can help a lot of people and make some change”.

    On 12 October 2023, Świątek announced that she would donate 300,000 PLN ($70,000) to UNICEF Poland to “help in the field of mental health in Poland and all over the world”, as part of celebration of World Mental Health Day. Along with the major announcement, she shared her thoughts and motivated other people as well. “I would like to encourage you to have a look around and see if there’s someone there who could use your help. You can make a donation of your choice to organizations like UNICEF that professionally help people (if you’re able to).”

    Support of Ukraine

    Following the Russian invasion of Ukraine in 2022, Świątek has often worn ribbons or other accessories in Ukrainian colors, and on several occasions has publicly declared her support for Ukraine in her winner speeches.

    On 23 July 2022, Świątek hosted a charity tennis event in Kraków, Poland to raise funds for children and teenagers impacted by the war in Ukraine. The one-day event featured a mixed doubles exhibition match and a set of singles between Świątek and Agnieszka Radwańska. Ukraine football great Andriy Shevchenko was a special guest. Elina Svitolina of Ukraine served as umpire for the event. Świątek stated, “I hope that we can see each other in large numbers in TAURON Arena Krakow and in front of the television to show the strength of sport when it unites us in helping and gives us at least a little joy.” Świątek later announced on Twitter that the event has raised over 2,5 mln złoty (over €500,000), which would be spread between United 24, Elina Svitolina Foundation and UNICEF Poland.

    On 10 August, Świątek has been announced as the part of line up for “Tennis Plays for Peace” exhibition, which took place on 24 August with other numerous current and former tennis stars like Rafael Nadal, Carlos Alcaraz, Coco Gauff, John McEnroe, Stefanos Tsitsipas, Matteo Berrettini, Maria Sakkari and many others, 100% of the proceeds going to GlobalGiving, the international non-profit identified by Tennis Plays for Peace.

    On 9 January 2023, Świątek took to Twitter and Instagram to announce that her ‘Iga & Friends’ and ‘1ga’ T-shirts will be available for sale at Allegro Charity, where she and UNICEF Poland have once again joined forces to raise funds for children in war-torn Ukraine. On 11 January, Świątek once again announced on her social media platforms that she will be auctioning off her US Open winning gear and French Open shoes, among others all proceeds would also be going straight to UNICEF.

    Personal life

    Świątek lives in Raszyn, Poland.

    She is a keen reader of books and in an interview has explained it helps her relax between tennis matches.

    Awards

    2019
    WTA Fan Favorite Shot of the Year


    2020
    WTA Most Improved Player
    WTA Fan Favorite Singles Player
    Gold Cross of Merit
    European Sportswoman of the Year – Evgen Bergant Trophy


    2022
    Chris Evert WTA World No. 1 Trophy
    WTA Player of the Year
    ITF World Champion
    WTA Fan Favourite Shot of the Year
    European Sportsperson of the Year
    Polish Sports Personality of the Year


    2023
    L’Équipe Champion of Champions
    WTA Player of the Year
    Polish Sports Personality of the Year


    2024
    ITF World Champion

  • Cincinnati Open

    The Cincinnati Open (also known as the Cincinnati Masters) is an annual professional tennis event held in Cincinnati, United States. Due to previous sponsorship, it has also been known as: the Thriftway ATP Championships, the Great American Insurance ATP Championships, the Western & Southern Financial Group Masters and Women’s Open and, most recently, the Western & Southern Open. It is played on outdoor hard courts at the Lindner Family Tennis Center in Mason, Ohio, and is held in August. The event started on September 18, 1899, and is the oldest tennis tournament in the United States still played in its original city. It also is the third largest tennis event in the United States, after the US Open and the Indian Wells Masters. It is one of the ATP Masters 1000 tournaments on the ATP Tour, and one of the WTA 1000 tournaments on the WTA Tour.

    History

    The tournament was started in 1899 as the Cincinnati Open and was renamed in 1901 to Tri-State Tennis Tournament, a name it would keep until 1969 (it would later be known by several other names, including ATP Championships), and would eventually grow into the tournament now held in Mason. The original tournament was held at the Avondale Athletic Club, which sat on property that is now Xavier University, and would later be moved to several various locations due to changes in tournament management and surfaces. The first tournament in 1899 was played on clay courts (described in a newspaper article of the time as “crushed brick dust”), and the event was mostly played on clay until 1979 when it switched to hardcourts.

    In 1903, the tournament was moved to the Cincinnati Tennis Club, where it was primarily held until 1972. In 1974, the tournament was nearly dropped from the tennis calendar but moved at the last moment to the Cincinnati Convention Center, where it was played indoors and, for the first time since 1919, without a women’s draw. In 1975, the tournament moved to the Coney Island amusement park on the Ohio River, and the tournament began to gain momentum again.

    Between 1981 and 1989 it was a major tournament on the men’s Grand Prix Tennis Tour and part of the Grand Prix Super Series.

    In 1979 the tournament moved to Mason where a permanent stadium was built and the surface was changed from Har-Tru clay to hardcourt (DecoTurf II.). Later, two other permanent stadia were constructed, making Cincinnati the only tennis tournament outside the four Grand Slam events with three stadium courts – Center Court, Grandstand Court and Court 3. A new Court 3 was built in 2010, increasing the number of stadium courts to four, with the existing Court 3 renamed Court 9. The women’s competition was reinstated in 1988 for one year, and then again in 2004 when the organizers, with the help of the Octagon sports agency, bought the Croatian Bol Ladies Open and moved it to Cincinnati.

    In August 2008, the men’s tournament was sold to the United States Tennis Association, the owners of the US Open.

    In 2002, the tournament was sponsored for the first time by Western & Southern Financial Group, with the company continuing its sponsorship until at least 2016. In 2011 the men’s and women’s tournaments were played in the same week, and the name changed from the “Western & Southern Financial Group Masters and Women’s Open” to the “Western & Southern Open”.

    In 2022, the tournament was sold by the USTA to Ben Navarro’s Beemok Capital; in 2023, the tournament proposed an additional $22.5 million in state funding to help cover a proposed $150 million expansion to the Lindner Family Tennis Center, which included plans for the Cincinnati Open to expand to a 12-day format with a 96-player draw (joining the Indian Wells Open, Madrid Open, and Miami Open) and add additional programming. In May 2023, rumors emerged that Beemok was considering relocating the tournament to a proposed $400 million tennis complex in Charlotte, North Carolina. Beemok denied that relocation was being considered, stating, “We’ve had productive conversations with state and local representatives in Mason and the surrounding area and have made considerable efforts to develop a potential master plan to expand the event in its current location.” In June 2023, the city proposed a $15 million commitment and other economic incentives to keep the tournament in Mason, while State Senator Steve Wilson proposed a $25 million contribution and a $1 billion “super-capital improvement fund” for a state budget proposal.

    In October 2023, Beemok announced that the tournament will remain in Mason and that it be expanding the event to a 12-day format for both men and women, with the draws expanding from 56 to 96 players beginning in 2025.As part of the agreement, Western & Southern agreed to end its title sponsorship. Due to this, and in honour of the tournament’s 125th anniversary, the “Western & Southern Open” branding was dropped in 2024 in favor of returning to the Cincinnati Open name.

  • The LA Galaxy

    The LA Galaxy are Major League Soccer’s most successful club. Based in Carson, Calif. at Dignity Health Sports Park, the Galaxy have won the MLS Cup a record six times (2002, 2005, 2011, 2012, 2014, 2024), the MLS Supporters’ Shield four times (1998, 2002, 2010, 2011) and the Lamar Hunt U.S. Open Cup twice (2001, 2005), and one Concacaf Champions Cup (2000) since their inception in 1996. Under the direction of LA Galaxy President of Business Operations and Chief Operating Officer Tom Braun on the business operations side and LA Galaxy General Manager Will Kuntz on the soccer operations side, the Galaxy are the premier club in MLS, with stars like Landon Donovan, David Beckham, Robbie Keane, Steven Gerrard, Zlatan Ibrahimović, Javier Hernandez, Cobi Jones, Riqui Puig and Marco Reus representing LA over the team’s 29 years in MLS.