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mag07_3English Table of Contents 2007/3

Page 3
Roundtable discussion: “in an eff ort to stir up the waters that the dance house movement and its institutions are presently standing in”. An edited version of the recorded discussion that took place on January 16, 2007 in Budapest at the Insitiute of Musicology. 10 people took part in the discussion – a group of educators, researchers, ethnographers (check the Hungarian for list of names). “The goal of the discussion was to bring up areas that are lacking in the dance house movement…. There needs to be a change of approach and attitude in preserving our traditions.” One of the topics discussed was the folk music department to open in September 2007 at the Hungarian Academy of Music in Budapest.

Page 18

’Góbé Virtus’ [Silly feat] is the nam of the new choreography recently premiered by the Hargita Folk Dance Ensemble (from the town of Csíkszereda [Mercurea Ciuc] in Transylvania). The group recently performed the new program in Budapest, Budakeszi, Siófók and Eger. The choreography apparantly features dances from Székelyföld. Review by Záhonyi András

Page 20
Bartók Béla, the folk music researcher. Selections from the exhibition in the Hungarian Heritage House (Budapest I. District. Corvin tér 8). Bartók’s letters mainly from the period 1906-1915 while doing collection work in the countryside. Subject areas: Slovak folk music, Romanian folk music and [folk] dance reasearch.

Page 22
Part I. In this issue’s literary column, MAGTÁR, there is an excerpt from a novel by writer Simó Márton. Simó was born in the town of Urikány [Uricani] in Transylvania. His work has been published in magazines since 1985, first in Transylvania, then in Hungary (since 1990). Four of his books have been published to date. This excerpt is from his trilogy (the third volume of which goes to press in the second half of this year) where he writes on “what has crept into our souls over the last hundred years”.

Page 29
Report on the status of UNESCO’s program of listing and protection of ’intangible cultural heritage’. ’Intangible cultural heritage’ became recognized by UNESCO in 2003 as a seperate area of cultural heritage to be protected; which includes areas such as: traditional music, dance and oral traditions such as singing, story telling, folk customs. By autumn of 2008, UNESCO expects to have the first international, country by country, listing for this area of cultural heritage. Hungary’s first list was submitted to UNESCO in Paris in June 2006. By Mrs. Kovács Bíró Ágnes, Hungarian Ministry of Culture and Education.

Page 30
Kunkovács László has been collecting old photographs of peasant life and cataloging them all his life. There are several exhibitions of photographs from his archive in various locations in Hungary. Kunkovács was recently awarded honarary doctorate of arts from the Moholy Nagy Arts University (formerly the Hungarian University of Arts and Crafts) Mr. Kunkovács recently celebrated his 65th birthday.

Page 31
During WW II, there were various programs of ’exchange’ set up by the governments of Hungary and surrounding countries… with the goal of getting as many ethnic Hungarians into Hungary as possible, while also ridding Hungary of as much of its ’non-Hungarian’ ethnic groups as possible. The personal story related here is that of a young girl (still in her teens in 1946) whose family name happened to be Slovakian. Her father decided to take the off er of re-location and move his family to Slovakia in hopes of fi nding a bettter situation for them there. As told to
Kóka Rozália.

Page 34
Part V. of Kiss Ferenc’ series on folk music arrangements. The theme this time is musical accompaniment for folk dance theatre. Folk dance theatre or so-called ’thematic folk dance choreographies’ here in Hungary is a genre of staged folk dance which is seperate from the authentic or traditional choreographies which strive to put traditional dance on stage in as unchanged form as possible. Here the great Hungarian music arrangers and composers in the folk dance theatre genre are listed: both a previous generation and the names of those presently doing this kind of folk music arrangements.

Page 38
Folk songs, folk music from the steppes of Khazakstan. On doing collection work (in 1997) in this region by Sipos János, folk music researcher at the Insitiute of Musicology of the hungarian Academy of Sciences in Budapest. Discussion of the locations, instruments and types of melodies.

Page 48
Pontozó – in three parts The Transylvanian legényes (young men’s dance) is the traditional improvised solo men’s dance with the most interesting and greatest variety of movements. In the area of Transylvania known as Maros-Küküllő region the local term for this dance is pontozó. These men’s dances fall into dance sections or little sequences of steps within the entire dance progression; – these dance sections are called ’pontok’ or points. On the basis of several films of entire dances danced by one dancer, dance researchers can evaluate the dance’s structure, sets of steps (or motifs) used, and types of motifs used and draw conclusions on the method or habit of improvisation. János Fügedi examines here the pontozó dance of one dancer – Jakab József from the village Magyarózd [Ozd]. Includes bibliography.

Sue Foy

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