Karikázó, 1975. július - 1976. április (1. évfolyam, 1-4. szám)

1975-07-01 / 1. szám

Tel: (201)343-5240 ********** ********************** *************> Purpose of KARIKÁZÓ is to maintain communi­cation and update the knowledge of all persons interested in Hungarian folkdance,music and folklore. Its content does not represent the opinion of any organized group.Articles appearing in the newsletter may he copied or reprinted,only if the source,publisher's name & address,is cited as shown above, ********************************************** The readers of KARIKÄZÖ are interested in the knowledge and experiences of their fellow Hungarian folklore-friends and would like to read about them. If you feel that you can contribute to KART­­KÁZÓ by writing an article,or there is a par­ticular subject you would like to read about, please send it to the editor. ******** ************************************** TV contests as a jury member. Miklós Rábai,whose name became a concept in Hungarian folk dancing,not only made his own work and the Ensemble world-famous, but also indirectly influenced the formation of othef dance groups in Hungary and around the world - thus moulding a generation into folk­lore-loving adults. (The information for this article is taken from TÁNCMŰVÉSZETI ÉRTESÍTŐ (Choreographic News,March 1975)­Judith Magyar IN MEMÓRIÁM KARIKÁZÓ HUNGARIAN FOLKLORE NEWSLETTER Published quarterly Subscription price: $2 per year Editor: JUDITH MAGYAR 257 Chestnut Ave Bogota,N.J.07603 £8S£S?a?e MIKLÓS RÁBAI 1921-1974 "We buried the body of Miklós Rábai,but his spirit and work continue to live on among us. The chief organizer and first artistic di­rector of the Hur^arian_National Folk Ensemble (Magyar Állami Nepiegyüttes)-Miklós Rábai - died after a long illness in October,1974. As a young teacher in the town of Békéscsa­ba,he was active in collecting dances, folk­songs in the area and arranged his material to pass them on to the audience.He discovered his great love for folklore and his ability to transform it to stage - which gave meaning to his future. In 1948 he was invited to the School of Physical Training to head its Folk dance Dep't. From 1950 until his death.he was with the National Ensemble.He moulded the enthusiastic; talented but heterogeneous dancers into a ho­mogeneous group. „ His choreographic work made KÁLLAI KETTŐS. (Double dance of Kalló),ECSERIjLAKODALMAS(Wed­ding dance ),B0TTLE DANCE,P0NT0Z0(Transylvanian Men's Lance).SZURET(Vintage),HÁROMUGRÖS(Three Leaps),DRÁGSZÉLI TÁNCOK(Kalocsa Region Dances) GYPSY DANCE,FIRST LOVE - known on stages of four continents in the world. In his late 1960's work,he aimed at restor­ing folklore to full life,by diminishing the boundaries between chorus and dance productions. Singing dancers and dancing singers would make each folkloric presentation more effec­tive. Choreographies created in this spirit were:HÉTSZINVIRÁG(Sevencolor Flower),JELES NAPOK(Days of Celebrations).He did not live to see his latest program:TÁNCRA,MUZSIKÁRA - that premiered in the Open-air Theatre of Szeged. Besides his unequalled choreographic work, he also became Director of the entire Ensem­ble. For many years he was chairman of the League of Hungarian Dancers(MAGYAR TÁNCMŰVÉ­SZEK SZO’VETSEGE),took part in folk festivals, lernet Miklós Rábai in 1965,when the Népi- Együttes was on its successful and only U.S. tour. I spent most of my time around the Ensemble, when they.were in N.Y.,in City Center»watching every one of their performances(40 in all). During this period I acted as an unofficial translator for them and had the chance to get to know and love "Miklós bá". He was very excited about the folk dance scene in the U.S. Ön one hand,he was happy to see, that there were Hungarian folkdance groups, trying to do their best to show their national heritage to Americans. On the other hand,he was amazed when we vi­sited the then still existing 23dSt.Folk dance House in Manhattan.He felt that its atmosphere where every nation's dances are done,one fol­lowing the other without prejudice - is the future of folk dancing.This was one of the most interesting phenomena he had ever seen. Before their last performance I had a private interview with him,when I asked him: -After observing the Hungarian folkdance scene in America,having seen how difficult it is for us .to do something good; considering the lack of live music,proper literature, money,the help of folk dance experts - do you think,that it is still worthwhile to continue and do inferior work?­He answered: -It is worthwhile,because if you will not do it To the best of your ability,it will not be done at all. It will be forgotten...­His encouraging answer was what spurred me to get involved to study Hungarian folkdancirg for all these years.The creation of this News­letter can also be attributed to those words, spoken 10 years ago. God Bless Miklós bá... Kálmán Magyar Járjunk Táncot New York,May 17,1975 The "HUNGÁRIA" FOLK DANCE ENSEMBLE of N.Y. presented a folk dance and music program at Co­lumbia University's McMillin Theatre. The show:"DANCES AND MELODIES OF THE LAND", included the following numbers: KÁLLAI KÉTTŰS is a traditional doubledance from the town of Nagykálló(Northeastern Hungary). (ChorjGino Beöthy, music‘.Zoltán Kodály) (continued on page 2)