English Table of Contents 1997/1
Botolós Bankó András' short story takes us into rehearsals and then a party of a city folk dance ensemble.
Folksinger, Budai Ilona, was born in Györ County in Hungary in 1951. Already in elementary school, her teachers recognized her talent for singing and she was performing in national talent competitions as early as 1968. In recognition of her dedication to traditional folksong and her work teaching singing, she was awarded the Magyar Örökség Díj (Hungarian Heritage Award) in December, 1996. By Kobzos Kiss Tamás
Szalay Zoltán writes about the dance music of the area in and around Magyarpalatka, Mezőség, Transylvania. A technical article describing the traditional dance music from this area. He ends by saying that the slower the tempo of the dance type, the more likelihood that the origin of the music is a vocal form. The fastest dance music being strictly instrumental form.
Interview with Potta Géza, Gypsy prímás from Abaujszina, a Hungarian village in Eastern Slovakia (so-called, Felvidék). He started learning to play at age six, from his father who was also a prímás. Here he describes playing for birthdays, christenings, weddings and at dances. He talks about playing the "kitchen dance", special tunes for shepherds, "colt csárdás", waltzes, and csárdás. He still plays regularly at both Hungarian and Slovak events. By K. Tóth László
Molnár László is a Hungarian prímás from Rimaszombat, Gömör County, Slovakia. This traditional lead fiddler was born in 1921 and still plays regularly in Gömör County with an 8 member band. He performed in Budapest at the Felvidéki Ball at Almássy tér Cultural Center in the fall of 1996. Interview by K. Tóth László.
Information, news, announcements
In Kiskunhalas on November 30, 1996, the talented 20 year old, Bakó Katalin, held a solo evening of folksong, poetry and readings of famous writers' works. Report by Mrs. Faddi István.
XVI. National Dance House Festival and Market. Programs, organizing staff, producers, participants
Táncház-es and folk clubs
Music, dance and handicraft summer camps
When doing fieldwork, musician and researcher, Juhász Zoltán, always asks his informants how and when they learned to play. Inevitably, the answer is always that the person grew up in a household surrounded by music and musicians. Also that a musician doesn't play a tune until he knows it from beginning to end in his head first. Zoltán recommends that the traditional way of learning music shouldn't be overlooked as possibly the most effective mode of passing on music to our children. by Juhász Zoltán
Traditional flute player, Legedi László István and singer, Bálint Erzsébet, both from the Hungarian village of Klézse in Romanian Moldavia, were in Budapest in January for the Csángó Ball held at Almássy Tér Cultural Center. During their stay in Budapest, Etnofon Studios held recording sessions with them, recording some 80 tunes. A recording from these sessions will be released in late March '97. A radio program also recorded when they were here in Budapest, will be broadcast on March 22. By Balogh Sándor
What is Dance? A collection of writings about dance. Excerpts of historical references, poetry, and a description of the life of Dienes Valéria, Hungarian dancer, philosopher and movement theorist who lived from 1879 to 1978. Selected by Koczpek Irén
Bartha Z. Ágoston of Budapest, musician in the Cifra Ensemble, describes how, over the years, playing outside of Hungary and also his friendship and work with the band's prímás, Szabó Viktor (traditional musician originally from the Transylvanian village of Mezőkölpény now residing in Budapest), has gradually changed his perspective on the music he plays. Stepping beyond insistence on playing only tunes which fit a certain definintion of authentic, he stresses the importance of playing good music, that means playing well together with his colleagues, and being flexible enough to perhaps play other kinds of tunes which a situation may call for.
Another masterpiece of Hungarian "szójáték" (playing with words). Bankó András; musing on Hungarian language and music.
Kozák József writes about the possible origin of the word regölés (a New Year's custom). After examining various possibilities which would connect this word to finnugor origins (for example drawing a connection to the trance which the shaman falls into, or with the word for warmth, or with the word which means to cover, or hide); he tells us his theory that regölés, comes instead from the word (not of finnugor origin) which means beginning, of for example, the new year. With this argument, Kozák emphasizes that research in this area should look for the most logical explanation instead of always trying only to draw connections to finnugor origins.