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mag04_5English Table of Contents 2004/5


Page 3
Fodor Sándor – "Neti Sanyi bácsi" prímás, 1922 Gyalu – 2004 October 20. Kisbács, Kalotaszeg, Transylvania. I began to understand "hajnali" – the dawn tunes – playing (bass) next to Neti. Teaching ever since: Forget every every rhythm formula, every contrived asymetry put down in written music; pay attention to the primas! Neti, "Hitler", Cilika Jani bácsi... Seems these days we go to Transylvania only for funerals...
Mohácsy Albert

Page 4
Gáspár Simon Antal – Master of Folk Arts – tells about his birthplace, the village of Istensegíts in Bukovina – where they always felt that as Hungarians they weren't in their mother country. When still under Austrian rule, they were more accepted, but after the war, when the region fell into Romanian hands and the parties were formed, the "Ironguard" party, that's when life became unbearbable for the Bukovina Hungarians. In 1941 they were able to leave the bad situation that had developed in Bukovina to settle in Hungary. In their "mother country" – a Hungary torn by the war and German occupation – they were not welcomed anywhere, were driven out of places, sent from village to village, then allowed to stay in a house emptied because others had been deported as a result of the war. Refecting on the trials and suff ering that he and his family survived, Gáspár's comment; "One cant really tell about these things, only give some idea. I don't even know how anyone could withstand that much." Mrs. Illés Imre – singer, Master of Folk Arts from Hadikfalva, Bukovina – at the age of 13, in 1941 she and her family were deported to Hungary along with the other Hungarians from their town. First there were the camps, then a village in northern Serbia, then displacement to several villages in western Hungary. Since 1980, she and her husband have lived in the town of Érd (just south of Budapest). Along the way she was always one of those asked to sing – singing more than once for visiting diplomats and government officials. As told to Kóka Rozália

Page 10
Announcement: 2 new video cassettes. Released by Etnofon with the Hungarian Institute of Musicology. Verbunk-s, Csárdás-s. Selections from the folk dance archive of the Hungarian Institute of Musicology. Representative examples provided from all over the Hungarian language area.

Page 11
3rd "Héttorony" Festival - 2004 November 13-14, at the Marcibanyi tér Cultural Center in Budapest. Special guest: Técsői Band  - Ruthenian traditional music from Ukraine. Performances by Békés Band, Tükrős Band, Kiss Ferenc and friends, Vodku V Glotku Childrens programs, photo exhibit, dance teaching, dance house.

Page 14
Bodrog Folk Dance Ensemble celebrates 50th anniversary. Darmos István present director, tells the history of this dance ensemble from the town of Sárospatak in Northeastern Hungary. The ensemble was founded in 1954 by the local Farmers Association. The ensemble and town of Sárospatak now hosts courses on local dance, childrens groups, college level study, dance camps, music camps, presently involving more than 500 young people in the town in their activities.

Page 15
The 16th International Bagpipe Festival was held in August of this year in the city of Strakonice in the Czech Republic. The Hungarian Bagpipe Band attended with two dancers, a hurdy-gurdy player and 4 bagpipe players. They perfomed, held dance houses and had the chance to meet other musicians and dancers from Bulgaria, France, Holland, Italy, Germany, Poland, Austria, England, Scotland, Turkey, and more. Report by Karakas Zoltán

Page 16
Hungarian Dance Day – in Pécs For the first time in 20 years, the Nyírség Dance Ensemble performed in the city of Pécs in Southern Hungary. The Nyírség, among the best of the best amatuer dance ensembles in Hungary, gave a full length performance, accompanied by the Szikes Band. The ensemble is from the town of Nyíregyháza in Northeastern Hungary, artistic directors are Demarcsek György, Spisák Krisztina, Kácsor István. Review by Szávai József

Page 17
Záhonyi András' comments and critiques on folk dance and music events from this summer: Nagykárolyi days, the dance camp and festival in Jászberény, a Ghymes and Jászság Folk Dance Ensemble concert during the Jászberény camp, folk dance and folk music in the "Müvészetek Völge" (Valley of the Arts) festival in villages in the Kapolcs area of Western Hungary, "Hungarian castle" – a camp in the village of Pomáz just outside of Budapest, several dance camps in Székelyföld (Transylvania), and the camp in Sóvidék (Transylvania).

Pages 20-21
Announcement: New Publication Studies in Hungarian Dance Folklore. Volume 1 Publishes a selection the most significant studies in Hungarian dance research/history covering the period up until 1945.  Series editor: Hoppal Mihály, Editor: Karácsony Zoltán. Gondolat Kiadó- European Folklore Institute. Budapest. 2004. In Hungarian. Forward from the book. By Karácsony Zoltán

Page 22
"Feketetó" – an open air market held once a year in Körösfeketetó (Negreni) in Western Transylvania. Since 1815 this market has been held there on the banks of the Körös River around the first weekend in October. "A centuries old market democracy works here. The common goal; everyone should get a good deal." Another remark from Kiss Ferenc's account: "poor Fellini, what you missed out on!".

Page 23-26
Photographs of the market at Körösfeketetó (Negreni) in Transylvania. Photographer: Molnár Zoltán

Page 27
Listing of dance houses and folk clubs

Page 30
Mátyás István "Mundruc" – A character study of a "Kalotaszeg legényes dancer" Printed here is Kósa László's speech that opened the celebration and press conference upon the release of this book of Martin György's life work. Over a span of more than twenty years, Martin filmed, interviewed, notated and studied the dancing of an extraordinary traditional dancer from the village of Magyarvista, in Tranyslvania. More than 30 people participated in preparing the posthumous publication of Martin's work: "the most extraordinary character study which has gone to press so far in Hungarian ethnography." Heard at the Hungarian Heritage House, Budapest September 8., 2004.

Page 32
Part II. Report on the 2004 Dance House Festival  ("Táncháztalálkozó") - results of a survey conducted and compiled by the Jel-Társ Sociological Research Workshop. Includes some comparison of results from a 2002 survey. Discussion of audience responses regarding: Popularity of certain programs of the event Satisfaction with the programs offered. Are those attending the event religious? Attendance of dance houses during the rest of the year Members of folk dance performing groups.

Page 34
"I had to go to the source (Part II)" Halmos Béla remembers Ádám István "Icsán" – master fiddler of Szék. Amongst other things, Halmos talks about his experiences learning from Icsán to play the Szék music. In Szék one learns solely on the basis of listening and watching. Halmos made a series of visits to Szék to visit Icsán from 1974 until Icsán’s death. Information collected from these visits he later wrote up in a monography. As Icsán told it, playing a wedding meant playing continuously for about 30 hours. Especially for the prímás, after such intense use of the musician’s nerves, body and spirit, by the end of the wedding, he can neither eat, nor drink, nor sleep; everything hurts - it takes time to get rested afterwards. Transcribed by K.Tóth László

Page 37
Dániel "Our regular guest at breakfast time from spring until the end of grapeharvest – was the "grapeherder" on his way home from his dawn rounds. Some of these morning occsaisions lasted til noon, even though we hadn't glued Dániel down. He returned the favor of these breakfasts with talk. At such times we didn't really relish his visits, but we liked him anyway. We regarded the grapeherder, as the farmer regards the barren, brambly soil; it doesn't promise anything – it gives what it can. My mother sometimes evaluated his lectures: Forgive me God, but most of the time, that person's talk isn't worth more than a chervil on the ground. One day Dániel was quiet. He wasn't stitching one word to the next, he sipped only half of his pálinka. "Zsuzsi! I have been to heaven! Today at dawn the 'beautiful women' kissed me... the dance of the beautiful women, barefooted, they floated undressed down to their cotton underclothes, like feathergrass bouquets in the dewy morning grass..." Dániel finished his story and when he left our place, rather then heading home, he headed out toward the vineyard and I knew that he didn't want to talk to anyone else that day." Excerpts from this issue's tale of Szék life by Soós János

Page 38
Interview with Timár Sándor Timár was born in 1930 on a farm in the Hungarian plain near the town of Szolnok. When he went into Szolnok to attend secondary school, he became a member of the Regös Cserkész group – a sort of scouts group "involved in learning dance, among other things". In that group he met Molnár István – the great dancer, teacher – who was a great inspiration to so many of Timár's generation. In this interview we hear about the SZOT Ensemble, Bartók Ensemble, Budapest Ensemble, Hungarian State Folk Dance Ensemble, Csillagszemű Dance Ensemble, the Molnár technique, Timár's teaching technique, choreography, peers and colleagues and more. Interviewer: Paluch Norbert

Page 42
Árendás Péter describes ways the viola is used in traditional village string bands of the Carpathain Basin. Basically there are three possibilities which are referred to as "viola" (using mainly the C-G string), "kontra" (using mainly the G-D strings), "kontra-viola" (also using mainly the G-D strings but using intervals smaller than a fifth). He provides us with examples from his field collection work in Northern Hungary and Transylvania.

Page 44
Digitalizing audio materials. Part 1. Ifj. Vitányi Iván provides concrete, technical information (both theoretical and practical) on the process of digitalizing audio materials - useful information for those who perhaps have ’old’ analog field recordings which these days are already becoming difficult to access, etc.

Sue Foy

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