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mag07_4English Table of Contents 2007/4

Page 3
Magyarlapád [Lopadea Nouă] – A Hungarian village of 1200 inhabitants in the Maros/Kis-Küküllő Rivers region of Transylvania. A dance and music camp has been held there each summer since 1997. This camp was first organized with the help of the Kallós Foundation, but is now organized and supported by the village itself. The village band is called the Piros Pántlikás Band (formed in 1985 by young people from the village that were studying in Kolozsvár [Cluj] at the time) and there also is a local ’tradition preserving’ dance group. Young dancers from Budapest have been active in supporting the revival and/or rejuviation/nurturing/reteaching of the Magyarlapád dance and music traditions, have formed friendships with people in the village and have done ethnographic study on the village.
Reports by Lukasik Zsófia, Eplényi Anna, Bánffy Farkas

Page 7
In September 2007 folk music will be taught on the university level in Hungary: the newly formed department of folk music at Budapest’s Liszt Academy of Music begins its first semester. After several rounds of application and auditions, 21 students will start the school year at the ’Music Academy’. Most students are studying violin or singing but there are also double bass, cymbalom, fl ute and tambura students participating in the three year bachelors program. Department Director is Richter Pál. There are plans to extend the training to off er also a masters degree and teaching diploma. Article appeared in ’Népszabadság’ on Aug. 10th, 2007.
By Serfőző Melinda.

Page 8
Folk Music Festival – Kecskemét, Hungary. September 20-23, 2007. Organized and sponsored by the Hungarian Heritage House and Kecskemét’s Erdei Ferenc Cultural Center. Events include: fi ddling (primás) contest for Hungarian fi ddlers under 25 years old, conference, guest master fi ddlers, dance house, photo exhibition, etc.

Page 9
New publications: Mé piros a gólya csőre? [Why Does The Stork Have A Red Bill?] Erotic and obscene folk tales from the Southern Hungarian language region. By Burány Béla. Timp Kiadó. Budapest. 2007. In Hungarian. ISBN 963 961 4427 [Melodies On Five Strings] On the history of the Hungarian hurdy-gurdy. Includes CD. In Hungarian. By Hankóczi Gyula. Timp Kiadó. Budapest. 2007. ISBN 963 961 4068

Page 10
Museum of local history in Szabófalva [Săbăoani], Moldavia. Kóka Rozália tells about an excursion with Nyíregyhaza members of the Kodály Association to this Hungarian Csángó village in Eastern Romania: an ethically Hungarian village where nowadays only 30% of the people speak Hungarian. The museum was founded and is runned by professor Perka Mihály, native of the village.

Page 13
Stuber György has been travelling to Moldavia doing research on bagpipers there since the 1970’s, nearly all of his informants have died over the past few years, leaving Csobotár András – Hungarian Csángó Moldavian bagpiper from the village of Vráncsa – as literally one of the last.

Page 18
Bartók Béla – the folk music researcher. From the exhibition of photos and documents in the 1st fl oor foyer at the Hungarian Heritage House at Corvin tér in Budapest. Excerpts from Bartok’s letters to family and colleagues between 1911-1941 on Balkan folk music, doing collection work in Algeria and Turkey and a congress in Cairo.

Page 28
Lauer Edith – 2001 recipient of Hungarian Heritage Award, left Hungary in 1956 with her family and has lived in the USA ever since. She was born in Budapest in 1942. She has spent her life in avid and active support of Hungarian culture. Kóka Rozália writes about her life story and Sütő András about her work in recommendation for the award.

Page 34
Why dance notation? Dance notation is taught by Fügedi János during all four years of dance training at the Hungarian Academy of Dance in Budapest. Dance notation is a system of signs and symbols with which movement can be written down on paper and read. Here a 4th year student sums up the advantages and uses of studying this science. Learning dance notation heightens a dancer’s ability to analyse movement and awareness of body position, direction of movement in space, portion of the body in motion. It provides a vocabulary for describing movement direction and levels, types of movement, steps, jumps, weight changes, turns, gestures, turning parts of the body, positions, body parts, and so on. Dance notation is useful for documenting choreography and movement which can then be later re-taught or used for research. The method of dance notation taught and used in Hungary and most recognized the world over was developed by Lábán Rudolf (1879-1958) and was introduced by him in Berlin in 1928. Hungarians Szentpál Mária and Lányi Ágoston have further developed the Lábán dance notation system. Article by Láda Júlia. Includes bibliography.

Page 36
80th Anniversary of Vass Lajos’ birth – Printed here is the lecture given by Dr. Horváth Géza from the Slovakian Hungarian Pedagogues Association on Vass Lajos’ work with Hungarian choruses in Slovakia after 1965.

Page 40
About Hungarian bobbin lace makers who held a lace making demonstration at the K-3 tent during Budapest’s well-known Sziget (Island) rock Festival. This festival is defi nitely not focused on folk arts and crafts: the idea was to show the lace making craft in a place where it wouldn’t usually be seen. Of course the lace makers are regular participants of the festival of folk arts and crafts at Budapest’s castle hill every August 20th. In
October 2007 there will be an exhibition of works created during the last five years of lace making summer camps in the village of Tokod. Report by Borka Elly

Sue Foy

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