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mag11_2English Table of Contents 2011/2

Page 3 
Halmos Béla on the historical background on Budapest’s Táncháztalálkozó – the National Dance House Festival and Market. This huge festival – attended by literally tens of thousands of people – has been held every year since 1982. As told to K. Tóth László.

Page 6 
The 20th National Solo Dance Festival was held in Békéscsaba on January 21-23, 2011. Held every two years, dancers enter this festival in hopes of impressing a jury of professionals in the field of Hungarian folk dance. If so, they may be awarded the „golden spur” (for men) or the „golden pearl” (for women). Three time winners achieve the rank of eternal golden spur or pearl. Dancers compete by dancing compulsory material for couples or solo men’s dances (this year: magyar verbunk from Nagyecsed, men’s dances from Örgöngösfüzes, csárdás from Bag, couple dances from Bogártelke), as well as a dance material chosen by the dancers. Dancers get a limited time on stage. They train from archival films of traditional dancers and/or other dancers proficient in the specific dance material. See report in Hungarian for names of jury (zsűri) members and names of this year’s winners. A number of additional prizes are awarded by other organizations. Report by B. Koltai Gabriella.

Page 8 
The Óbuda Folk Music School is 20 years old. Actually this institution was established in 1975 by flute player and teacher, Béres János. The school recently marked the 20th anniversary of its „independence” (though still a government funded institution). In any case, several generations of Budapest dance house musicians have learned to play their instruments or sing there. Presently 220 children and young people are studying under a staff of 17 music teachers (some of which also teach at the Liszt Academy of Music). In general it is an after-school program. They also publish books on curriculum and methodology for teaching folk music, and records. By Halász Csilla (first appeared in Heti Válasz).

Page 12 
The Molnár Technique. Molnár István (Kolozsvár 1908 - Budapest 1987) was an olympic gymnast and avantgarde dancer in the 1930s and 40s. At the end of the 1940s he turned to folk dance for inspiration, filmed village folk dancers and went on to teach and choreograph folk dance. He was teacher and inspiration to great Hungarian dance researchers (Martin, Pesovár, Timár, Borbély, etc). Over the years he developed his own technique for dance and movement training in an eff ort to train stage folk dancers to capture the movement styles of the best peasant dancers. His technique is known amongst professional folk dancers in Hungary today and is seeing a renaissance. Over the years, Liszt-award winning dancer, Hargitai Zsuzsa “Lucika” has been teaching the technique to professional folk dance ensembles in Budapest. Dancer, choreographer, teacher Ónodi Béla, who has more recently become an expert on the Molnár technique, has produced a training DVD and is working on an accompanying book. Dance notation expert Fügedi János is professional advisor and consultant for the book. Strack Orsolya talks to Hargitai Zsuzsa, Ónodi and Fügedi.

Page 16 
Olsvai Imre: ethnomusicologist, researcher retired from the Hungarian Institute of Musicology, student of Kodály Zoltán in the folk music department at the Liszt Academy of Music 1951-1956. Writer, editor of countless books and articles on folk music. A summary of his life work and career upon his 80th birthday. By Mrs. Bencze László dr. Mező Judit.

Page 20 
Kóka Rozália’s series: Stories of Hungarian Women. Part I: Katharina Clemente /Tomcsányi Katalin – painter, mathematics teacher in Vienna. In this first part, Katalin tells the story of her childhood in Budapest. Born in 1952, she grew up in communist Hungary. She was born after her father, a school teacher, came home from seven years as a prisoner of war in Russia. This part of her story ends at the final weeks of secondary school, when Katalin meets the boy that will be the father of three of her children.

Page 30 
Superstition, folk belief and ghosts in Szék [Sic], Transylvania. Two tales of ghosts as told by Kocsis Rózsi in 1996, 1997. A story of a girl on the way home from a spinning party in the rain on a night of the week when it was not customary for the young men to come to the spinning parties or walk the girls home. She had to pass by the graveyard on her way, where she met two young men who walked her the rest of the way home. When she got home, her father told her he had heard that ghosts had been roaming near the graveyard. The other is a tragic story well-known in Szék: Mányi’s husband died leaving her with four little children. Mányi spoke to the ghost of her husband every night and soon died as well.

Page 32 
Pávai István’s lecture presented at a March 2010 conference in Budapest entitled „Tradition, Heritage and Public Culture – the present role and future of Hungarian folkarts in the Carpathian Basin”. Pávai’s lecture looks at history: Bartók, Kodály and Lajtha’s approaches to folklorism. Using original quotes from all three of these composers, folk music collectors and researchers – Pávai examines development and changes in their approaches to folklorism, and relationships between their approaches.

Page 36 
New Recording: Singer Bodza Klára has just released a new record of Hungarian folk ballads. Musicians playing folk and historical music join her on the recording. Bodza Klára: Fúdd el, jó szél, fúdd el. DialekTon 2011. Review by Sándor Ildikó.

Page 38 
Dance house musicians and Gypsy musicians in Hungary: a historical look at the musicians and bands of the urban dance house movement and at the movement itself from the beginning of the 1970s to the present. Interesting observations on the differences between the revival movement musicians, city Gypsy musicans, and traditional musicians from the villages. In the end, musician Árendás Péter (author of the article) asks the question: What has happened to the feeling, respect for; and humility in the face of our musical heritage? A reminder to today’s young generation of city dance house musicians. First published in Élet és Irodalom, LV. 8.

Sue Foy
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