Karikázó, 1979. július - 1980. április (5. évfolyam, 1-4. szám)
1979-07-01 / 1. szám
cont'd. from p. 2 "Palóc K a r i k a z ó ", choreography by Tamás Te szár gave a good example of a well designed, theatrical composition based on a folk theme, but it only barely touched the surface of authenticity.ALthougJi it was a good idea to spice up the generally unexciting circle dance type with dialog among the girls, lending humorous and unique elements to the presentation, it also introduced unnatural qualities, reducing its purity and genuiness, resulting in an overly - staged treatment of an otherwise simple theme. The live citera-playing was a good choice for accompanying the dancing and singing of the girls. Hungarian girl scouts are "envied" and known for their beautiful voices and the wide variety of folk songs they know. They gave testimony to this talent of theirs in the choral presentation of a well - selected arrangement of Hungarian folk songs, in another part of the program. Palóc karikazo was performed by the Hungarian Girl Scouts of New York, a group with tremendous potentials for presenting folk dancing or other aspects of Hungarian folklore. It would be nice to see them perform together more often! "Kiszehajtás" (Spring Ritual) and the Nepi Gyermekjátékok (Children's Folk Games Allowed the audience to see the junior as well as the youngest age group of New Brunswick scouts. The folk games were especially well arranged and delightfully performed by the children. Thus, we were assured that the future is bright for the Regős Ensemble, as its "reinforcement" is already active. The balance of the "Hungarian Tapestry" program included the Philadelphia Hungarian Scouts. They performed " Maj us f atanc " ( Maypole Dance), learned from the New Brunswick group. László Hajdu-Nemeth sang Hungarian historical and so called "flower songs" from the XYI. century. "Első Szerelem" (First Love) and "Pántlikázó " (Beribboning) were two major numbers by the New Brunswick dancers. Both suites generated great electricity and excitement among the audience. The well known choreographies (M. Rábai and L. Náfradi, respectively) were performed with precision and high spirit^ again documenting the exceptional talent of the Regös Ensemble. In retrospect, a couple of important points must be made. First, that the direction towards more authentic stage presentations by scout groups should be further encouraged. Secondly, live musical accompaniment should be used to a greater extent.lt could be accomplished, since some of the members of the New Brunswick Rego's Scouts have musical training, have the resources for instruments and material. All in all, the "Hungarian Tapestry" program by the Hungarian scouts of the greater New York area demonstrated once more their love for their heritage and brought to the audience a sincere and commendable presentation of it. We look forward to the next such program, which will hopefully be soon. Dance and folklore ensembles from thirteen countries participated in the Billingham Folklore Festival in England, in 1978, the Bartók Ensemble representing Hungary. The eight days long event presented the group , very des ervedly, with unforgettable memories and riches of new success -as a member of the troupe reports in his article for Chemical Worker (Sept. 1978)*. They performed nineteen times during the festival.twice a day, in a total of nine and a half hours, at various locations, on indoor and open-air stages. Close to twohundred-thousand people have seen, the British TV aired their performances and the radio broadcasted a musical and interview program with them. The ensemble also gave a sixty minutes long show and its success will be long remembered not only by the performers, but by the audience and the functionaries of the Festival as well. I am pleased to have read that members of the Bartók Enserrble were able to witness and were moved by the love and enthusiasm Hungarians in England have for their mother country and its culture. Numerous Hungarians and dancers showed up at the Festival to meet them, to cheer them on as they passed by in the opening procession under the Hungarian flag, and to root for their success. Off-stage activities of the dancers included a workshop for 35 dance instructors, led by Sándor Tímár, meeting other groups,, making friendships and all in all, having a great time; yet "being aware of the responsibility of their mission, the internationality and elevating power of dance."** Isn't this statement well phrased and doesn't it accurately describe the driving force behind our work for Hungarian folk dancing abroad? We hope that your feelings are enduring, "Bartók" dancers and that they will also aid all of us in understanding and appreciating each other's task and role where the dissemination of Hungarian folk dancing, as part of today's culture, is concerned. 3 t Da® The "Bartók" Ensemble is one of the best amateur folk dance groups in Hungary, supported by the Union of Hungarian Chemical Workers. Sándor Tímár is the Artistic Director and Choreographer of the Ensemble, as well as Head of the Folk Dance Department of the National Ballet Intstitute in Budapest. * Chemical Worker is the Union's regular publication. The article for it was written by Sándor Kárpáti. **Translated quotation. BARTÓK NlilMiLI loa saftet J. M.