Karikázó, 1976. július - 1977. április (2. évfolyam, 1-4. szám)
1976-07-01 / 1. szám
Alongside the established, dance ensemble there is a beginners' group made up of young members, led by Veronica Both. This provides the real basis for furthering the training of the dancers, and creates the source of continuous rejuvenation and reinforcement. The Hungária group in Detroit is of more modest composition and potentials, yet it is made up of excellent dancers and has a relatively extensive repertory. Ibolya Szalay and Linda Enyedi are the leaders of the group. They successfully direct the activities of 8-10 couples. Presently, they are working with a younger generation of dancers from whom they can hope for the rejuvenation of the whole ensemble within a couple of years. I had the opportunity to appear with the group in a program in Toledo, and their enthusiasm and discipline remains an unforgettable memory for me. They have a good program: Bottle Dance. "Három ugros" , dances of Szatmar, Tápé among them. The performance in Toledo developed within the celebration of a grape harvest and was the most colorful highlight of the evening's program. I had no opportunity to see the Hungária Ensemble of New York at work, but I became acquainted with its leaders and with its director, Dr. Balazs Somogyi. This ensemble is of great importance, because its leaders and members have the potential to attain a leadership role in providing new methods and acitvities for groups engaged in performing Hungarian folk dances in the U. S. By establi shing the Pontozo folk dance competition ,lhey assumed an historical role, since no other group in immigration was able to achieve the same. The Pontozo competition will represent a regular program for the friends of Hungarian folk art, and as part of an ever widening future concept, they could create new objectives that could enrich the groups' experiences even further. In my opinion it was a great idea not to organize the first competition for the "elite" groups. In this fashion, the average groups received stimulation, had the enjoyment of success and now have the opportunity to move up to the level of the premier ensembles. It is conceivable that future competitions may provide a great deal of impetus in regard to interest and preparedness to all the groups, thus rendering the possibility of receiving wider attention in the artistic life of America. In this case, certain Hungarian folk dances , such as the "forgatos", some of the dances of Szék,and Szatmar may become "fashionable.". The Hungarian American youth could fulfill an important historical role by popularizing its ethnic heritage, made possible by its lifestyle and particular circumstances. To be effective, they have to win the interest, friendship and enthusiasm of not only of the public, but also of the A- merican experts. Great attention, proper Knowledge and methods are necessary to fulfill this function. The Hungária Ensemble of New York has been working on these objectives quite skillfully and tenaciously. Discernibly, they strive for the acquisition of significant ethnographical knowledge; they possess original movies, literature on the subject, that were issued in great number in Hungary over the recent years. They do their best to keep abreast with the latest developments in the folk dance culture of Hungary.In vol. lno.2 of Karikázó, Prof. Andor Czompó gave a summary of this kind, analyzing very colorfully the most important achievements of the "Alföld Folk Dance Festival", held in Szolnok. A native of Hungary visiting the American hemisphere can be filled with great enthusiasm in view of all these achievements. Simirarly, I was overjoyed of having had the opportunity to get acquainted with these groups, their leaders and to observe their enthusiasm and devoted work. I covered all this in the Hungarian professional press and my lectures about my trip have aroused great interest. I feel that my activity has created a modest link between the native folk dance art of Hungary and the young people with similar ambitions, living in the American hemisphere. Translated by Dr. Balázs Somogyi Magyar Spirit The true art of Hungarian folk dancing is more than the mere execution of steps. It must include the captivating music and ardent moods; without them the steps just skim the surface of tradition and spirit. The Magyar spirit lies deeply embedded in Hungarian history, moulded by centuries of oppression. Given the right spark, it will rise to heights, that are sometimes too much for the folk dancer to deal withor even comprehend. The body can express only so much; the rest of this spirit remains within, where it lies as a delectable mystery. As recreational folk dancers, let us review briefly the basic steps of most Hungarian folk dancesithe cifra, rida, bokazo, csárdás, csapó. All these, if combined or varied, demonstrate our knowledge and proficiency of Hungarian folk dancing. However, this is only a detached and objective presentation. The true Hungarian folk dancer is more in tune with his heart and his spirit. To him steps are secondary. Recreational folk dancers are conditioned to learning a dance usually for the sake of adding it to their seemingly insatiable repertoir. We believe, that the more we know, the longer we can stay on the dance floor with our friends, or perhaps show off technical skills not yet mastered by the rest of the group. The feet are moving, but the heart remains still. * In the villages of Hungary, peasant men and women, young and old, go through the paces of csárdás, circle, verbunkos, as well as some little known stick dances in a seemingly casual and unprofessional style. The sole reason for this could be that they are not performing. The dances we do here are the rechoreographed versions of the simply executed dances of the villagers. Without this restyling, we would be little attracted to movements that do not proclaim spectacular professional mastery. The villagers are dancing for themselves. They have no need for display. Their improvisation is the keynote to Hungarian folk dance. What we consider casual in style is in effect the true essence of the Magyar spirit. It cannot be expressed in rigid form; it may bubble forth, radiate brashlyor rest quietly. As recreational folk dancers we only skim the surface of a spirit centuries old. To know a dance is not the same as feeling it. Spirit cannot be taught or described in words; it can only be learned through empathy and communicated in action.