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Page 3
The Semiotics of Symbols on Carved Wooden Grave Markers of Kalotaszeg and Székelyföld Regions of Transylvania. The shapes and symbols carved on these grave markers indicated the age, sex and marital status of the person buried there, without need for words and written inscriptions. The article is divided into pragmatic analysis, and semantic and syntactic analysis. Includes bibliography. By Sáfrányné Molnár Mónika.

Page 6
The Hungarian Academy of the Arts held a special meeting in the village of Salföld on May 8-9, 2014. Located in Hungary’s renowned Káli Basin, Salföld is just 3 km from Lake Balaton and is well-known as an artist’s community. The weekend included lectures on local history and geography, tour of the traditional local architecture, exhibition of work by local artists, a literary evening, screenings of fi lms shot in the Káli Basin, jazz concert and street theatre performance. Report by Kóka Rozália.

Page 8
Report on the Eurofonik Festival held on April 11-12, 2014 in the conference center in Nantes, France. Focus of the festival was world and folk music. Mainly French musicians were present, but there were also musicians from the UK, Bulgaria, Norway, and Mongolia. Open workshops in traditional choral singing were also offered in the afternoon. One of the most well-recieved bands was Les Freres Guichen from Bretagne (two guitars, one accordion). By Fehér Anikó.

Page 10
Love and courtship in the village in ‘the old days’– Kóka Rozália’s column. This is the story of a man from Bukovina born in 1895. He served in WW I, married quickly during the war when home on leave, but had to report back to service immediately. He was captured and was a prisoner of war. After 3 years he was finally released and walked home. By then his wife had a baby from another soldier. Completely distraught, he left the village and went to do farm work in Moldavia where he eventually met a girl he wanted to marry. He was Catholic and divorce was unheard of. After some time, the church decided that his very quick wedding during the war could be annulled and he was able to marry the woman he spent the rest of his life with.

Page 12
The Hungarian Museum of Ethnography – Interview with Dr. Kemecsi Lajos director. The museum, presently located at Kossuth tér across from Parliament in Budapest, is planning to move to a new location to be built on 56-osok tere (on Dózsa György út previously known as “Felvonulás tér”) next to the city park. The new museum building is due for completion by March 15th 2018. The archives and restoration workshops are to be moved gradually and sooner to a separate central warehouse location on Szabolcs utca in Budapest. The museum plans to stay open throughout the transition period. By Grozdits Károly.

Page 16
Bede-Fazekas Zsolt’s story – Part II. Zsolt was born in 1961 in Győr, Hungary. He was an actor and theatre director in Győr until the end of the 1980s. From the beginning of the 1980s, the Hungarian secret police began a sequence of surveillance and intimidation because of his supposed anti-government activities. At the end of the ‘80s he and his wife defected. They were granted asylum in Regina, in Canada’s Saskatchewan Province. As part of the arriving immigrant program, they were obliged to stay for 6 months in Regina and attend English language classes. After 6 months they moved to Toronto. Zsolt and his wife have ever since lived and worked in Toronto. First he worked as a gardener, then went on to do graphics work. He acted in Hungarian theatre in Toronto, eventually bought the Hungarian bookstore, organizes and supports Hungarian cultural events in Toronto and has a Hungarian radio program. Since arriving in Canada, he and his wife have raised 3 children who all speak Hungarian. As told to Kóka Rozália.

Page 18
New CDs:
Parapács Band: Bëbocsátlak (Fonó FA 299-2) Parapács was a winner of the 2012 Páva talent competition broadcast on Hungarian television. Their new record presents traditional music (Hungarian, Slovak and Gypsy) collected in Slovakia. The fiddler of the band is from the region and had the opportunity to learn directly from the legendary traditional musicians from the village of Abaújszina/ Seňa, Slovakia.
Csík Band: Amit szívedbe rejtesz [What’s hidden in your heart] (Fonó FA 300-2) This is the Kossuth award winning Csík Band’s 10th record. It is different from the previous ones in that the material contains original compositions by the members of the band. “No matter what the band plays – they remain a folk band…of course they also like contemporary alternative music which works well with the folk music instrumentation…they still strive for balance…” Some good guest musicians cooperated with Csík Band for the recording.

Page 20
Olsvai Imre (April 2, 1931– February 19, 2014) was a folk music researcher and composer. He was Kodály Zoltán’s youngest student, earned two degrees from the Liszt Academy of Music, was member of the Hungarian Academy of Sciences folk music research group, collected over 7000 melodies in this region, published more than 20 works and received many awards in recognition of his work. Printed here is a report made with him on his 70th birthday.

Page 22
The 2nd Baranya County solo dance festival was held in Pécs on April 5th, 2014. Th ere were 43 entrants in the children’s category, 18 in the youth category and 39 adults performing traditional dances from 7 villages and regions in Baranya County, Hungary. Dances of the Bukovina Székely ethnic group were well represented given the signifi cant number of people from Bukovina living in the region. Jury members: Busai Norbert, Busai Zsuzsanna, Radák János. Sponsored by the National Cultural Fund. Report by Molnár Péter – festival organizer.

Page 30
Stories from Szék. “In my childhood the men played flute. True, it was mainly the older men who played; the younger men didn’t play - only the shepherds in the pastures. When a man came home from working in the fields, he would sit out on the porch...lean back against the wall and the quiet sound of the flute would creep into a person’s soul...” This is the story of Minya whose greatest sorrow was that his wife complained bitterly that his flute playing was a waste of time. Another selection from Kocsis Rózsi’s memoires (born in Szék/Sic 1932, died 1999), published by Juhos Kiss Sándor, Juhos-Kiss János.

Page 32
The Hungarian Kitchen – Traditional foods of the Göcsej Region. Göcsej is the historical-ethnographical name for part of Zala County in southwestern Hungary; traditionally a poor, isolated area. Use of spices in the region was limited to those found in the garden and surrounding fields: tarragon, basil, parsley, dill. As a forested area, mushrooms and game were also part of the fare. The bread was sourdough mixing rye flour or corn meal with wheat flour. Fresh pork was eaten only in the winter right after pig slaughtering; the rest of the pig was smoked and lasted until the wheat harvest. Soups were made of whatever was in season at the moment. Meat soup and roasted meat were eaten only on holidays. Recipes included are: buckwheat soup, cottage cheese soup, a bean and cabbage dish, two kinds of pasta and “fumu” the local version of kalács or sweet brioche bread. By Juhász Katalin.

Page 35
The Hungarian dance magazine, Táncművészet, is being published once again. The magazine began in 1951. Publication was interrupted in October of 1956, then didn’t start up again until 1976 with folk dance researcher Maácz László as chief editor. Maácz led the magazine until he retired in 1990. After the political changes of 1990, a private foundation took on the magazine and Kaán Zsuzsa became editor. When she died in 2010 publication stopped again. In 2013 the Honvéd Ensemble decided to try to revive the magazine. They have succeeded in bringing together local dance companies, professional organizations and cultural funding to insure the continuation of the magazine. Issue XLII. 1. has been published. By Bolvári-Takács Gábor director of the magazine.

Page 36
New publication: Sándor Klára: A székely írás nyomában [On the trail of Székely script]. (Typotex Könyvkiadó, 2014. Hungary. 350 pages. ISBN 978 963 279 387 0) Sándor Klára is a Hungarian linguist. What is known as rovásírás or székely írás – has become somewhat controversial in Hungary, and there is a lot of myth surrounding it. Székely writing is a very old form of script from the Székely region of Transylvania dating back as early as the 1400s. Not enough is known about it. Sándor Klára of the Altaic Department of Szeged University has been researching this subject since before the 1990s. Surviving examples of this writing are found in some old churches in Székelyföld.

Page 39
A traditional Moldavian Csángó fiddler’s repertoire of melodies. Part III. Gábor Antal (1926–2008) was from the village of Lujzikalagor /Luizi-Călugăra, located 10km southwest of the town of Bákó/Bacau in Moldavia, Romania. At www.folkradio.hu/folkszemle/liptak_moldvaihegedus/index.php you can find samples of written music, song words, and recordings related to this study. Here summaries and descriptions of examples are provided on three categories of this musician’s tunes: dance music – strophic melodies, vocal tunes played on violin, melodies from the wedding traditions. Includes bibliography. By Lipták Dániel.

Page 48
Thoughts on Reviewing Staged Folk Dance. “Though there are some excellent choreographies and the [Hungarian folk dance] profession is progressing nicely, the press generally leaves something to be desired – for a lack of professional, objective, and constructive criticism...” Discussed here are: the pure source, Bartók and Kodály, ‘contemporary-ism’, tradition as a tool, show business, the critic’s prejudices. Dreisziger Kálmán’s thoughts – which were inspired by a conversation with Ertl Péter.

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