|English Table of Contents 2013/6
New publication – Volume 16 of the series: Studies in Roma (Gypsy) Ethnography / Cigány Néprajzi Tanulmányok. Editor: Szuhay Péter. Hungarian Ethnographical Society, Budapest, 2013. 23 studies on Hungarian–Gypsy coexistence. A collection of unique and concrete examples of coexistence studies that approach this social question from a wide variety of disciplines and present both positive and negative aspects. Printed here is a review of the publication by Morvay Judit and Tompos Krisztina that first appeared on October 15th, 2013 at: www.commmunity.eu
Mandache Aurel 1933–2013: A traditional Moldavian fiddler born in the village of Gâşteni in Bacău County, Romania. He bought his first violin at the age of 14 with money made working in the fields, by the age of 20 he was playing for local weddings. For 16 years he played and travelled with the Bacău Orchestra. He also played locally for weddings and christenings. He made his living mainly from music, but also did some farming. His first trip to Hungary to perform Moldavian music was in 1997. He was Romanian speaking Gypsy of the Eastern (Romanian) Orthodox faith; he did not speak Hungarian. Several Hungarian CDs of his music have been released in the last ten years, on the Etnofon and DialekTon labels, often accompanied by musicians from the dance house movement. On these recordings more than 40 melodies from his repertoire can be heard: tunes of the Hungarian Moldavian dance repertoire, Romanian horas, serbas, tunes of balkan origin, and tunes from the repertoire of the city orchestra. Sad to see this musician go, he was one of musician and ethnomusicologist Bolya Mátyás’ main informants and teachers. By Bolya Mátyás.
Kóka Rozália’s children’s column: A Christmas story by Hungarian novelist, journalist, and museologist, Móra Ferenc (1879 –1934) – his own story. The story of an 8 year old boy, the son of the woman who baked bread in the village. The boy was very poor and very little, but had a gift for recitation and was chosen to recite a Christmas poem in church. Then he got his first ride in a carriage after his feet froze to the marble railing he stood on to recite the poem.
New publication – Süveges Gergő: Csík Zenekar. Trubadúr Kiadó, 2013, Budapest ISBN: 9789630977715 In Hungarian. This year the Csík band celebrates its 25 year anniversary. The band started out like many other dance house movement bands, playing authentic village style Hungarian folk music. Over the last 5-10 years, however, they have come up with their own, now widely and wildly popular (in Hungary), genre of arrangements based on authentic folk, but mixing that material with some well-chosen Hungarian popular or alternative rock tunes. Printed here are excerpts from the book: Süveges Gergő asks well-known Hungarian folk and pop musicians’ opinion on whether or not making arrangements of authentic folk music is sacrilege.
Conversation with photographer Molnár Zoltán. Discussion of Molnár’s photo album (published in December 2012) entitled Fényerdők [Forests of light] and his approach to photography. „My task is to show the beauty and good – even in a trash heap. If I find a person who is basically not beautiful, and can find in him/her some existing beauty – because it’s possible...when I am able to photograph that;...I feel like the photo is in tune...” Molnár’s photo album features photographs taken in Transylvania and Moldavia between 1996 and 2012. Interview by Grozsdits Károly.
Obituary: Singer, Ferencz Éva 1951–2013. Ferencz Éva was a folk singer born in Szolnok, Hungary. She competed in the 1970 Fly Peacock TV folk talent contest, sang with Kaláka and the Honvéd ensembles, studied at the Bartók Béla Music Conservatory, and then at the Academy of Theatre Arts specializing in operetta. Then she worked as an actress in Sankt Pölten, Austria for 6 years. In more recent years, she travelled all over Hungary performing religious folk songs. She released 5 recordings and was the winner of numerous awards in recognition of her talents. Eulogy by Kóka Rozália.
New publication – Jávorszky Béla Szilárd: Muzsikás 40. Kossuth Kiadó, Budapest. 2013. ISBN: 978-963-09-7771-5 In Hungarian. This book has been written in celebration of the Muzsikás Ensemble’s 40th year performing Hungarian folk music at home in Hungary and around the world. It chronicles the history, personalities, collaborations, adventures and travels of this world renown group. Printed here is Jávorszky’s introduction.
Part II. – Conversation with dance notation expert Fügedi János. On the occasion of his 60th birthday, the director of the dance research department at the Institute of Musicology of the Hungarian Academy of Sciences, talks about his work. Here we find out what Mr. Fügedi learned from which famous figure in Hungarian dance notation: studying with Szentpál Mária he learned how to read dance notation and to ’re-dance’ what is written. Whereas from Lányi Ágoston, he learned the opposite direction – to accurately describe each movement and notate the actual movement (usually from films of dance – going frame by frame). Also discussed here is Fügedi’s field collection work in the Küküllő and Kalotaszeg regions of Transylvania, as well as the various computer programs they have developed over the years for doing dance notation. Includes bibliography. By Misi Gábor.
A little girl remembers sitting on her father’s knee in their house in the Transylvanian village of Szék/Sic, and listening to his stories of the 1st World War, when he was taken prisoner by the Russians and spent four years in Siberia. Another selection from Kocsis Rózsi’s memoires (born in Szék 1932/died 1999), published by Juhos Kiss Sándor, Juhos-Kiss János.
Hungarian folk dance documented in early films. This article examines early films (moving pictures) from the years before 1945 as a source of documented traditional Hungarian folk dance. The films that have survived fall into three main categories: 1) news-reel films and ‘culture films’; 2) films made for ethnographic documentary purposes, and to preserve the dances; 3) feature films of the period. The first film that the author of this article has found is a cultural news-reel type film from 1912 that preserves dancing at a wedding in the village of Mezőkövesd. By Dóka Krisztina.
Protecting Hungarian folk song. Among other things, this short interesting article includes a great description and opinion on the 7 years Bartók Béla spent travelling the entire Hungarian language area recording, collecting original folk song. „...Bartók is Europe’s leading composer now, and that is where he finds his own calling and pleasure... but for all intents and purposes he put his own music aside for seven years – for Hungarian folk song....” Bartók trained himself in the ethnographical techniques and languages necessary for this collection work. Mentioned here in the meantime are political figures, musicians, composers and „nóta” composers of the time. By Balázs Béla. Reprinted from the Bécsi Magyar Újság II. 139. Vienna, June 15, 1920.
Millet in traditional Hungarian cuisine. Millet was apparantly part of the everyday Hungarian and European diet until the mid 1800s, when corn, the potato, rice, and the bread grains (wheat and rye) invaded Europe. In Hungary traditional recipes using millet have survived to some degree in the plains region where it was grown. There was recently a whole conference in Hungary devoted to millet – from research and growing to table. Five millet recipes are included here: millet spread, millet baked with sheep cheese, millet with mushrooms, millet-potato pancake, sweetened millet. By Juhász Katalin.
A review of the connections between folk music and folk dance research and the dance house movement (as a social phenomenon). This study starts with the research of Bartók and Kodály (inspiration), continues through the great Hungarian folk music and folk dance researchers that coddled and encouraged the dance house movement – a revival movement based on a solid background of scientific research. Amongst the researchers mentioned are: Martin, Vargyas, Lajtha, Andrásfalvy, Pesovár (2 brothers), Kallós, Domokos, Olsvai. The study ends with commentary on the 2001 dissolution of the former Folk Dancer’s and Musicians Resource Center – the Szakmai Ház. A paper written and presented by Berán István at a conference held in conjunction with the 24th Kecskemét Folk Music Festival.