Articles by Initial Letters
A Tata
Novák Ferenc 90. születésnapjára
Tata – Tribute to Novák Ferenc "Tata" as he celebrates his 90th birthday
Interviews with 16 people who have worked closely with him by Herczku Ágnes, Grozdits Károly, Fodor Zsófia, Jávorszky Béla Szilárd and Berán István.
With photographs by Korniss Péter
Published March 2021
Hungarian choreographer, director, dancer, ethnographer Novák Ferenc “Tata” was born in the Transylvanian town of Nagyenyed /Aiud (Alba County, Romania) on March 27, 1931. He has received Hungary’s highest national honors in recognition of his work.
He has been founder, director and choreographer of the Bihari János Dance Ensemble (Budapest). He was dance corps leader, then from 1983 artistic director of the Honvéd Ensemble (Budapest). He was artistic director of the Szeged International Folk Dance Festival and has been guest choreographer and director at the Amsterdam Folklore Dance Theatre in The Netherlands. He has served as president of the Association of Hungarian Dance and was member of the Hungarian Academy of Arts from 1996-2012.
Page 3
Rossa László (b. 1941) is a Hungarian composer who worked with Novák in the Bihari and Honvéd Ensembles and also in the Netherlands. He spent 18 years as composer for the Honvéd Ensemble. "The creative process with Tata was through discussion or consultation – ideas and thoughts would come in conversation with him. The best times were talking at Tata’s place, sitting around his table – we did several works this way… these are my best memories.” – By Herczku Ágnes.
Page 5
Truppel Mariann and Makovinyi Tibor – were both solo dancers in the Honvéd Ensemble - Mariann for 18 years, Tibor for 26 years. "At the time in the Honvéd Ensemble authentic folk dance was not the strength, it was Tata’s concept instead – he thought in terms of theatre, dance theatre, but he didn’t let go of the authentic direction either...so, with the variety of the genre and multiple challenges for the performer…Tata filled my career with content. I don’t pass on his teaching methods, but his mentality, thoughts and life direction. He taught us to walk the world with our eyes open and to develop our own opinions...” By Herczku Ágnes.
Page 7
Rusorán Gabriella (Honvéd soloist for 22 years) and Turán János (member of Bihári Ensemble from 1984- 2006). "On tour it was compulsory to see the important sights wherever we went, he would take us, he planned these side trips into the travel schedule. He tried to educate us, to awaken our interests. He didn’t want us to be plain old uninformed folk dancers". By Herczku Ágnes.
Page 9
Rémi Tünde and Appelshoffer János both of these dancers consider the Honvéd Ensemble to have been their greatest education. Today they strive to carry on the spirit and mentality of their masters – Tata, Foltin Jolán and Zsuráfszky Zoltán in their work with Novák Péter (son of Novák Ferenc and Foltin Jolán) and Csoóri Sándor Sündi. By Fodor Zsófia.
Page 12
Horváth Zsófia was a soloist in the Honvéd Ensemble for many, many years. Novák gave her the opportunity to choreograph and she was encouraged by both Novák and Foltin Jolán. "Tata was adamant about getting outside opinion for his works in progress…and he would always voice his opinion on his students’ work, we didn’t always like what he said, at the time it may have seemed hurtful, insulting, but he was right…and he never expected us to imitate his work. He was always open to new ideas, he loved talking with young people…" By Fodor Zsófia.
Page 14
Juhász Zoltán – was a soloist from 1991-2016 with the Honvéd and then with the ensemble in its next form under Zsurafszky Zoltan. "… It was amazing how enthusiastic Novák was about the work, the choreographies, the roles. He did everything burning at 100%. It was a pleasure to watch him…he knew what he wanted, but always left 25% or even 50% open to whatever life may bring into the creative process…. Perhaps I only saw him dance once, on Pina Bausch’s birthday. He knew that he needed someone next to him like a Román Sándor, Hortobágyi Gyöngyvér, Makovinyni Tibor or Horváth Zsófia. He was amazingly good at choosing the people who could help him realize his ideas and dreams.” By Fodor Zsófia.
Page 16
Kiss Ferenc is a musician, arranger and composer who has worked with Novák - first back in 1973 in the Bihari Ensemble, and then off and on through the years with the Honvéd. He says he learned from Tata that, "one must not get stuck in the past, instead we must use the multitude of cultural phenomena that touch us as a tool…”. Kiss adds that "of course there has always been bitter argument around this in the dance house movement, and those arguments have never stopped.” By Grozdits Károly.
Page 18
Hortobágyi Gyöngyvér was Novák’s assistant for 10 years until 2010. She is now head of the folk dance department at the Hungarian Academy of Dance. "Tata always says, ’in art there is no democracy because that will just bring confusion’, while at the same time he never handled those in leading positions hierarchically, but as partners”. She describes Novák as "a facsinating person in his vehement, passionate, intense and dynamic way". By Grozdits Károly.
Page 20
Simoncsics János worked closely with Novák for more than a decade on the International Folk Dance Festivals in Szeged. Simoncsics was organizer, Novák was artistic director of the folk dance festival and gala performance which culminated the festival. "Under the old regime – until 1990 – the Szeged festivals were lavishly supported by the government. Today the festival’s budget is about one tenth of" what it was in the good old days. By Grozdits Károly.
Page 22
Román Sándor – Novák Ferenc’s work and artistic approach has greatly influenced the life, career, and world view of award winning performer, choreographer, theatre director Román Sándor. He worked with Novák in the Honvéd Ensemble for 20 years. "…Tata taught me that what I had learned as a student [in the folk dance department] at the Institute of Ballet is a language, a basic vocabulary - some use that language to make poems, some short stories, others entire novels. What kind of novel I write using it is up to me…." By Grozdits Károly.
Page 23
Hegedűs D. Géza is a celebrated Hungarian actor who worked with Novák in 1981 when he was cast in the main role of the rockballad/musical "Kőműves Kelemen”. He was inspired by the folk dances he had to learn for his part. To this day, he maintains the friendship with Novák that started during that production. Upon meeting Novák he was struck by "an unusually colorful personality, full of vitality, energy, good humor, with amazing knowledge and sense of purpose. One of the best things the director [of the production] Marton László did was to work with Novák - one of the greatest artists and choreographers of the period following the war…his greatness lies in how…he connected to folk music and dance folklore as live tradition...” By Jávorszky Béla Szilárd.
Page 25
Horváth Csaba is a dancer, director, choreographer. He was a soloist in the Honvéd Ensemble and worked with Novák for 5 years before spreading his wings to take off on his own creative path. He names Novák’s production of "Hungarian Elektra” as the work that influenced him the most. After seeing it in 1984 he knew he wanted to do that kind of dance theatre. Attracted to both dance theatre and authentic folk dance, he names Novák’s work "Tünderkert" (Hungarian and Romanian folklore treasures choreographed in parallel) - as an ’unforgettably uplifting experience’. He describes Novák’s work in "Kőműves Kelemen" and "István a Király" as ’important large scale projects that reached a larger audience, opening the eyes of many to the importance of traditions’. "…Tata always took an interest in his students’ work, sometimes with harsh criticism sometimes quieter, but he always expressed his opinion." By Jávorszky Béla Szilárd.
Page 27
Székely Tibor at the age of 22 in 1974 became the director of the facility that housed the Bihári Folk Dance Ensemble. In this capacity he worked closely with Novák for decades. He describes Novák as a man of "open thinking, great knowledge, wide vision, who hated suspicion, duplicity, insincerity…he worked with questions of modern man and fate - dreaming them up for the stage, a master and choreographer creating dance theatre, story telling ran in his veins, he was blessed with an exemplary sense of timing and balance.” Novák was dedicated to his dancers, and "…went all the way to the president of the country to fight for pensions for professional folk dancers. " By Jávorszky Béla Szilárd.
Page 29
Szögi Csaba is a dancer, choreographer, dance educator, theater director. He was Novák’s assistant for 8 years. He has worked with the Bihári, Honvéd, the Vasas Dance Ensemble in Dunaújváros, and the Central European Dance Theatre. He is presently director of the Bethlen tér Theatre in Budapest. "Tata still comes to our premieres, he’ll invite us all to a glass of wine afterwards and brings real, constructive criticism…the real master course [for me] was the 8 years (1979-88) when I was his assistant. To an important degree I have him to thank for where I’ve gotten to today. And not just as a dancer, choreographer, but as a person as well." By Jávorszky Béla Szilárd.
Page 31
Szörényi Levente - composer, guitar player, singer and song writer - is an emblematic figure in Hungarian pop music. He worked with Novák Ferenc in the early 1980s in the production of rock ballad/musical "Kőműves Kelemen", then also on productions of the Hungarian rock opera "István a Király" and rock ballad "Fehér Anna". "…Tata’s movement theatre raised the level of the ["Kőműves Kelemen"] production to incredible heights and the success we found together encouraged us take on István a Király – we needed his movement theatre to populate the huge space we used for the original production…he didn’t just choreograph, he directed the entire city park..and our connection became so close that we asked him to do the choreography for Fehér Anna". By Jávorszky Béla Szilárd.
Page 33
Jakab Péter finished the Hungarian Ballet Institute’s training for professional folk dancers in 1983. Most of that graduating class went to the Honvéd Ensemble to dance because they wanted to work with Novák. Declining Novák’s invitations to dance in the Honvéd, Jakab Péter went instead to the Hungarian State Folk Dance Ensemble where he danced for 4 years. But when Jakab decided he wanted to go to Amsterdam to dance in the professional international folk ensemble there under Ferdinand van Altena, Novák was the one who helped him get there. Jakab Péter danced there until 1997 and still lives there today. From time to time he returns to Hungary to do choreography, also working with the Honvéd. Novák worked with the dance group in Amsterdam often "…he was very well liked there…you had to get used to Tata, when he didn’t like something he would tell you, but those who put their heart and soul into the work - Tata would thank them in his own way…I wish him strength and good health and that he’ll continue to enjoy life just as he always has, without leaving anything out!" By Berán István.
Interviews with 16 people who have worked closely with him by Herczku Ágnes, Grozdits Károly, Fodor Zsófia, Jávorszky Béla Szilárd and Berán István.
With photographs by Korniss Péter
Published March 2021
Hungarian choreographer, director, dancer, ethnographer Novák Ferenc “Tata” was born in the Transylvanian town of Nagyenyed /Aiud (Alba County, Romania) on March 27, 1931. He has received Hungary’s highest national honors in recognition of his work.
He has been founder, director and choreographer of the Bihari János Dance Ensemble (Budapest). He was dance corps leader, then from 1983 artistic director of the Honvéd Ensemble (Budapest). He was artistic director of the Szeged International Folk Dance Festival and has been guest choreographer and director at the Amsterdam Folklore Dance Theatre in The Netherlands. He has served as president of the Association of Hungarian Dance and was member of the Hungarian Academy of Arts from 1996-2012.
Page 3
Rossa László (b. 1941) is a Hungarian composer who worked with Novák in the Bihari and Honvéd Ensembles and also in the Netherlands. He spent 18 years as composer for the Honvéd Ensemble. "The creative process with Tata was through discussion or consultation – ideas and thoughts would come in conversation with him. The best times were talking at Tata’s place, sitting around his table – we did several works this way… these are my best memories.” – By Herczku Ágnes.
Page 5
Truppel Mariann and Makovinyi Tibor – were both solo dancers in the Honvéd Ensemble - Mariann for 18 years, Tibor for 26 years. "At the time in the Honvéd Ensemble authentic folk dance was not the strength, it was Tata’s concept instead – he thought in terms of theatre, dance theatre, but he didn’t let go of the authentic direction either...so, with the variety of the genre and multiple challenges for the performer…Tata filled my career with content. I don’t pass on his teaching methods, but his mentality, thoughts and life direction. He taught us to walk the world with our eyes open and to develop our own opinions...” By Herczku Ágnes.
Page 7
Rusorán Gabriella (Honvéd soloist for 22 years) and Turán János (member of Bihári Ensemble from 1984- 2006). "On tour it was compulsory to see the important sights wherever we went, he would take us, he planned these side trips into the travel schedule. He tried to educate us, to awaken our interests. He didn’t want us to be plain old uninformed folk dancers". By Herczku Ágnes.
Page 9
Rémi Tünde and Appelshoffer János both of these dancers consider the Honvéd Ensemble to have been their greatest education. Today they strive to carry on the spirit and mentality of their masters – Tata, Foltin Jolán and Zsuráfszky Zoltán in their work with Novák Péter (son of Novák Ferenc and Foltin Jolán) and Csoóri Sándor Sündi. By Fodor Zsófia.
Page 12
Horváth Zsófia was a soloist in the Honvéd Ensemble for many, many years. Novák gave her the opportunity to choreograph and she was encouraged by both Novák and Foltin Jolán. "Tata was adamant about getting outside opinion for his works in progress…and he would always voice his opinion on his students’ work, we didn’t always like what he said, at the time it may have seemed hurtful, insulting, but he was right…and he never expected us to imitate his work. He was always open to new ideas, he loved talking with young people…" By Fodor Zsófia.
Page 14
Juhász Zoltán – was a soloist from 1991-2016 with the Honvéd and then with the ensemble in its next form under Zsurafszky Zoltan. "… It was amazing how enthusiastic Novák was about the work, the choreographies, the roles. He did everything burning at 100%. It was a pleasure to watch him…he knew what he wanted, but always left 25% or even 50% open to whatever life may bring into the creative process…. Perhaps I only saw him dance once, on Pina Bausch’s birthday. He knew that he needed someone next to him like a Román Sándor, Hortobágyi Gyöngyvér, Makovinyni Tibor or Horváth Zsófia. He was amazingly good at choosing the people who could help him realize his ideas and dreams.” By Fodor Zsófia.
Page 16
Kiss Ferenc is a musician, arranger and composer who has worked with Novák - first back in 1973 in the Bihari Ensemble, and then off and on through the years with the Honvéd. He says he learned from Tata that, "one must not get stuck in the past, instead we must use the multitude of cultural phenomena that touch us as a tool…”. Kiss adds that "of course there has always been bitter argument around this in the dance house movement, and those arguments have never stopped.” By Grozdits Károly.
Page 18
Hortobágyi Gyöngyvér was Novák’s assistant for 10 years until 2010. She is now head of the folk dance department at the Hungarian Academy of Dance. "Tata always says, ’in art there is no democracy because that will just bring confusion’, while at the same time he never handled those in leading positions hierarchically, but as partners”. She describes Novák as "a facsinating person in his vehement, passionate, intense and dynamic way". By Grozdits Károly.
Page 20
Simoncsics János worked closely with Novák for more than a decade on the International Folk Dance Festivals in Szeged. Simoncsics was organizer, Novák was artistic director of the folk dance festival and gala performance which culminated the festival. "Under the old regime – until 1990 – the Szeged festivals were lavishly supported by the government. Today the festival’s budget is about one tenth of" what it was in the good old days. By Grozdits Károly.
Page 22
Román Sándor – Novák Ferenc’s work and artistic approach has greatly influenced the life, career, and world view of award winning performer, choreographer, theatre director Román Sándor. He worked with Novák in the Honvéd Ensemble for 20 years. "…Tata taught me that what I had learned as a student [in the folk dance department] at the Institute of Ballet is a language, a basic vocabulary - some use that language to make poems, some short stories, others entire novels. What kind of novel I write using it is up to me…." By Grozdits Károly.
Page 23
Hegedűs D. Géza is a celebrated Hungarian actor who worked with Novák in 1981 when he was cast in the main role of the rockballad/musical "Kőműves Kelemen”. He was inspired by the folk dances he had to learn for his part. To this day, he maintains the friendship with Novák that started during that production. Upon meeting Novák he was struck by "an unusually colorful personality, full of vitality, energy, good humor, with amazing knowledge and sense of purpose. One of the best things the director [of the production] Marton László did was to work with Novák - one of the greatest artists and choreographers of the period following the war…his greatness lies in how…he connected to folk music and dance folklore as live tradition...” By Jávorszky Béla Szilárd.
Page 25
Horváth Csaba is a dancer, director, choreographer. He was a soloist in the Honvéd Ensemble and worked with Novák for 5 years before spreading his wings to take off on his own creative path. He names Novák’s production of "Hungarian Elektra” as the work that influenced him the most. After seeing it in 1984 he knew he wanted to do that kind of dance theatre. Attracted to both dance theatre and authentic folk dance, he names Novák’s work "Tünderkert" (Hungarian and Romanian folklore treasures choreographed in parallel) - as an ’unforgettably uplifting experience’. He describes Novák’s work in "Kőműves Kelemen" and "István a Király" as ’important large scale projects that reached a larger audience, opening the eyes of many to the importance of traditions’. "…Tata always took an interest in his students’ work, sometimes with harsh criticism sometimes quieter, but he always expressed his opinion." By Jávorszky Béla Szilárd.
Page 27
Székely Tibor at the age of 22 in 1974 became the director of the facility that housed the Bihári Folk Dance Ensemble. In this capacity he worked closely with Novák for decades. He describes Novák as a man of "open thinking, great knowledge, wide vision, who hated suspicion, duplicity, insincerity…he worked with questions of modern man and fate - dreaming them up for the stage, a master and choreographer creating dance theatre, story telling ran in his veins, he was blessed with an exemplary sense of timing and balance.” Novák was dedicated to his dancers, and "…went all the way to the president of the country to fight for pensions for professional folk dancers. " By Jávorszky Béla Szilárd.
Page 29
Szögi Csaba is a dancer, choreographer, dance educator, theater director. He was Novák’s assistant for 8 years. He has worked with the Bihári, Honvéd, the Vasas Dance Ensemble in Dunaújváros, and the Central European Dance Theatre. He is presently director of the Bethlen tér Theatre in Budapest. "Tata still comes to our premieres, he’ll invite us all to a glass of wine afterwards and brings real, constructive criticism…the real master course [for me] was the 8 years (1979-88) when I was his assistant. To an important degree I have him to thank for where I’ve gotten to today. And not just as a dancer, choreographer, but as a person as well." By Jávorszky Béla Szilárd.
Page 31
Szörényi Levente - composer, guitar player, singer and song writer - is an emblematic figure in Hungarian pop music. He worked with Novák Ferenc in the early 1980s in the production of rock ballad/musical "Kőműves Kelemen", then also on productions of the Hungarian rock opera "István a Király" and rock ballad "Fehér Anna". "…Tata’s movement theatre raised the level of the ["Kőműves Kelemen"] production to incredible heights and the success we found together encouraged us take on István a Király – we needed his movement theatre to populate the huge space we used for the original production…he didn’t just choreograph, he directed the entire city park..and our connection became so close that we asked him to do the choreography for Fehér Anna". By Jávorszky Béla Szilárd.
Page 33
Jakab Péter finished the Hungarian Ballet Institute’s training for professional folk dancers in 1983. Most of that graduating class went to the Honvéd Ensemble to dance because they wanted to work with Novák. Declining Novák’s invitations to dance in the Honvéd, Jakab Péter went instead to the Hungarian State Folk Dance Ensemble where he danced for 4 years. But when Jakab decided he wanted to go to Amsterdam to dance in the professional international folk ensemble there under Ferdinand van Altena, Novák was the one who helped him get there. Jakab Péter danced there until 1997 and still lives there today. From time to time he returns to Hungary to do choreography, also working with the Honvéd. Novák worked with the dance group in Amsterdam often "…he was very well liked there…you had to get used to Tata, when he didn’t like something he would tell you, but those who put their heart and soul into the work - Tata would thank them in his own way…I wish him strength and good health and that he’ll continue to enjoy life just as he always has, without leaving anything out!" By Berán István.