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mag11_6English Table of Contents 2011/6

Page 3
Gadányi Pál – Master of Folkarts – bagpipe player and maker. Mr. Gadányi was born in the southern Hungarian village of Tótújfalu (Somogy County) in 1932. He is of Croatian descent. As a young man he became a carpenter, then began making instruments for the tambura band in his village. He also played in the band. In the late 1950s he began learning to make and play the bagpipe from his neighbor, Kovács Pávo. He has made more than 50 bagpipes. His bagpipes are a transitional type – between the Hungarian bagpipe and bagpipes found in the Croatian language area. This kind of bagpipe is found in a 100-150 km zone on both sides of the Dráva River. Mr. Gadányi was named „Master of Folk Arts” (a national recognition) in 2011. Report by Szabó Zoltán.

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Book review: Fügedi János: Tánc-Jel-Írás. L’Harmattan kiadó-MTA Zenetudományi Intézet, 2011 Budapest. ISBN 978-963-236-410-0. In Hungarian. A guidebook for notating solo and circle dance forms of Hungarian folk dance using Lábán dance notation. This review gives us information on history of dance notation in Hungary, then acquaints us with Fügedi János’ (an internationally recognized expert in this field) research and teaching background. Fügedi studied under Szentpál Mária and Lányi Ágoston – both of whom were esteemed experts in this field in Hungary. The reviewer acquaints us with Martin György’s theory behind his use of dance notation in his famous work on the Transylvanian dancer Mátyás István “Mundruc”, then ends voicing the hope that Fügedi will continue with another volume on notating couple dances and implement dances. By Karácsony Zoltán.

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Hungarian Customs – Saint Lucia Day (December 13th) and Christmas. Hungarian tradition includes a variety of customs that were practiced on Saint Lucia Day. Also described here are Christmas Eve (December 24th) and Christmas Day customs etc. By Kóka Rozália.

Page 10
Artistic Director of the Hungarian State Folk Ensemble (a.k.a. MÁNE) Mihályi Gábor speaks about the ensemble. For ten years now MÁNE has been operating under the wing of the Hungarian Heritage House. This year the ensemble celebrates its 60th anniversary, while the Hungarian Heritage House its 10th. The professional ensemble presently has an active repertoire of eleven diff erent shows – some of which are traditional dance material; some are contemporary choreographies based on folk material (which have inspired plenty of controversy). Mihályi’s comment: “We don’t dance for the politicians, or for the profession – we dance for the audience”. Interview by Serfőző Melinda.

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Celebration: The teaching methods based on ethnographic research that have been consciously developed within, and are an integral aspect of, the Hungarian dance house movement have been added to UNESCO’s list of intangible cultural heritage. See: http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011. “Programmes, projects and activities for the safeguarding of intangible cultural heritage considered to best reflect the principles and objectives of the Convention”. “Táncház method: a Hungarian model for the transmission of intangible cultural heritage.” The táncház movement is very proud. Report by Csonka-Takács Eszter.

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Kóka Rozália’s series on women’s life stories. Part III. Conclusion: Szőnyi Zsuzsa’s life story. Zsuzsa (born: Budapest 1924) and her husband, the artist Triznya Mátyás, lived in Rome for five decades (1949-2007), where their house became a regular meeting place for Hungarians passing through or living in Italy. Many well-known literary figures, artists and scholars came to the informal gatherings in their home. Zsuzsa tells stories about their friendships with Fitz Jenő, Pilinszky János, Kerényi Károly, Márai Sándor, Cs. Szabó László, Békés Gellért, Peskó Zoltán – only a few of the people that passed through their lives and their „Triznya pub” evenings.

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Some additional information on the background of two traditional dancepantomimes: „Bene Vendel’s Dance” and „The Savanyó Play” – in memory of dance researcher Pesovár Ernő. These pantomimes were done at weddings mainly in southwestern Hungary. Both of which are connected to legendary outlaws and said to be linked to archaic death dances. Both of these little dance-plays are done later on during the wedding feast around midnight or thereafter. This writing cites actual history on these outlaws, drawing links to the stories acted out in the dance-pantomimes. Includes bibliography. By P. Vas János.

Page 28
Beliefs and Customs of Spain – Part III. The engagement. A listing of customs from various parts of Spain on asking for a girl’s hand in marriage, and then what was to be done – or not done – by the betrothed couple and their families during the engagement period. By Valter Linda.

Page 32
Interview with Szokolay Balázs „Dongó” and Bolya Mátyás. These two musicians are very active in the Hungarian folk and world music scene these days. They play on four different records released over the last year. Here they talk about a new CD of their own compositions entitled Kindoflute (Dialekton). Also discussed: their creative process, other projects and recordings, Bartók, music copyright issues, music business in Hungary. See end of article in Hungarian for relevent web addresses. By www.kulturpart.hu – a Hungarian cultural website.

Page 40
Traditional Dance Culture of Baranya County – Southern Hungary. There has been a renaissance of dance research in Baranya County. A new generation of inspired dance researchers that live in the region are involved in review of the material in the national archives, collection of new material and comparison of today’s status of traditional Hungarian dance in the region with the archival documentation. This report is summary of a conference held in the town of Hosszúhetény. Papers were given discussing the above-mentioned research. Presentations were critiqued by senior dance researchers Andrásfalvy Bertalan and Felföldi László, with Varga Sándor. The conference was organized by the two dance ensembles in the region. By Molnár Péter.

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