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English Table of Contents 2015/4

Page 3
Henics Tamás : Feketetó [Market on the Banks of the Körös River] – Published by the author. Hungary 2015. ISBN 978-963-12-1525-0. A photo album. Can be found at MesterPorta: 1011 Budapest, Corvin tér 7. Since 1815 Feketetó/Negreni has had the right to hold national markets. Every year on about the fi rst weekend in October there is an outdoor market in this village at the gateway to Transylvania. Th is is Henics Tamás’s third photo album. He is a medical researcher, an amateur photographer, founder/director of Ladikos Festival, and active supporter of Hungarian traditional life and music.

Page 4
Kallós Zoltán: Balladás könyv. Collected by: Kallós Zoltán; Eds: Kallós Zoltán, Németh István. Kallós Zoltán Alapítvány, Válaszút, Romania 2014. 700 pages/ includes DVD. ISBN 978-973-0-17845-6. Kallós Zoltán was born in 1926, in the village of Válaszút/Răscruci, Kolozs County, Romania (Translyvania). He is an ethnographer and singer. He collected his first ballad in 1942 in his home village. Over the years his informants were between the ages of 9 and 89 years old, much of the material is still being sung today. His ballad collection work focused on Hungarians in Moldavia and in the Gyimes, Northern Mezőség and Kalotaszeg regions of Transylvania.

Page 6
Kóka Rozália’s series on dedicated Hungarians living outside Hungary. This issue’s story features Smuk András of Vienna. Born in 1947 in the village of Pusztasomorja in a border area of Western Hungary. His family escaped in 1956. He was sent to Hungarian schools in Austria and Germany, completed his PhD and worked in Vienna in oil and natural gas research until retirement. This story is about his dedication and contribution to Hungarian culture and active participation in Vienna’s “Europa”-Club which included organization of pilgrimmages for groups of Austrian Hungarians to visit Hungarians in Hungary and in other periferal areas after 1989.

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Anca Giurchescu 1930–2015. “Anca was an internationally renowned dance scholar from Romania. She grew up in Transylvania and then moved to the capital Bucharest, where she studied Rhythmic Dance at the University of Physical Education in 1949. In 1953 she took up a research position in the Choreology Department of the Institute of Ethnography and Folklore. Despite being prevented from continuing her studies several times by the communist authorities, she graduated in 1963. By the time she left the department in 1979 she was Head Researcher. During her time at the institute Anca contributed to the foundation and development of folk dance research in Romania, conducting fi eldwork in over 240 localities. As well broad-ranging research on dance, she investigated, from an insider’s perspective, the way traditional symbols were manipulated by communist cultural management for political power legitimation. In 1979 Anca defected from Romania and was granted political refugee status in Denmark, where she remained active as a dance scholar. She returned to her homeland in 1989, following the fall of the communist regime, to continue her research (started in 1968) on the process of transformation of the healing ritual Călus¸ and dance tradition of the Roma minority.” (from University of Roehampton, London - website) Anca also knew and worked with the great Hungarian folk dance researcher Martin György (1932–1983). Felföldi László’s tribute to Anca and her work includes a partial listing of her publications.

Page 15
Message to Halmos Béla – THE fiddler. A friend and colleague of the late Halmos Béla (1946-2013) shares a few of his own adventures with Béla demonstrating Béla’s friendly, intelligent personality and his dedication to the dance house movement. Also mentioned here is the Halmos–Szomjas series of films – Portraits of Traditional Musicians – released on DVD in 2013. By Szabó Zoli – the bagpiper.

Page 18
Interview with Kovács Norbert “Cimbi”- folk dancer, choreographer, Young Master of Folk Arts, award winning solo dancer, active organizer of cultural events. Originally from Western Hungary and presently living there in the village of Kiscsősz, he has been working on projects that will be an asset to the village community, the region and to those that consider traditional dance, music and folk culture to be more than just a scene. By Grozdits Károly.

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Ratkó Lujza: Szabolcs-Szatmár–Bereg megye népművészete. Nyíregyháza: Jósa András Múzeum, 2014. 800 pages. Contains 19 studies, and 900 illustrations. In Hungarian with some English summary. The series of monograph-level albums on Hungarian folk art heritage was started in 1987 – each to be an in-depth look at folk arts of each county of Hungary. Th e 10th volume of the series was published in December of 2014 featuring Hungary’s Szabolcs-Szatmár–Bereg County.

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Farewell to Nagy Zoltán József “Púder”. Púder died tragically and suddenly in a train accident on July 10, 2015. He leaves behind his wife and 3 children and scores of friends and colleagues that worked with him over the years. He was dedicated to the dance house movement, a good teacher, dancer and choreographer who travelled the world teaching Hungarian dance. This farewell is written by his long time friend and colleague, member of Kolompos Band - Ifj. Timár Sándor.

Page 39
Interview with Berán István - organizer of the National Dance House Festival (traditionally held at the end of March in Budapest) and director of the Táncház Guild. This conversation covers history of the festival which began in the early 1980s, recent developments, commentary on 2015’s festival and plans for the future. By Maksa Henrietta - first appeared in Folkpédia 2015 May 23.

Page 44
Virágvölgyi Márta: When I met Martin György /thoughts after teaching a master course for folk musicians in Kolozsvár/Cluj Napoca on May 16th, 2015. This article gives us information on Márta’s career, music, research work, teaching and what it was like working with Martin György. It is also serves a report on the master workshop in folk music she taught with Fekete Antal “Puma” in May. She offers advice and motivation for aspiring folk musicians – now that so many of the Transylvanian village musicians that were her masters, are gone.

Sue Foy
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