Karikázó, 1976. július - 1977. április (2. évfolyam, 1-4. szám)

1976-07-01 / 1. szám

Other regulations are: a. / the minimum number of dances are two; b. / the maximum and minimum time of performance is demarcated; c. / any number of per­formers may appear on stage and musical and special effects are unrestricted. The protesting of any decision must be made within 24 hours. The groups arrive on Friday to register for the com­petition and for housing. (All expenses are paid includ­ing lodging and meals. ) The actual contest starts Friday evening and lasts until sometime Saturday afternoon. The performances follow each other closely and the jury, seated in the front row of the dress circle,have all they can do tak­ing notes industriously throughout the program. Saturday evening there is a gala fest, during which the groups may present numbers of their own choice or repeat competition-dances for the asking of the jury. With the conclusion of the evening festivities, the ju­rors retire to debate and make decisions. The winners are announced on Sunday by the chair­man in a "runner-up" fashion, saving the best for last. Following his announcements the place winners per­form their winning numbers in front of a live audi­ence and for television cameras. Highlights of performance at the Sixth Biennial Fes­tival at Szolnok; KISZ Art Ensemble for overall excellence VASAS Dance Ensemble for creating an exceptional mood with its dances TISZA Ensemble for two superb choreographies - one by Sándor Sajti, the other by Lajos Várhelyi. HAJDÚ Ensemble of Debrecen for a suite composed of dances of neighboring countries. Similarly, I could list all the other amateur groups that attend this festival and always do their best:, thus guaranteeing its high standard. I could also enumerate the names of the choreographers who are the creative powers and souls of every dance. The Seventh Biennial Folk Dance Competition in Szol­nok was reviewed by Andor Czompo, in the October ' 75 issue of Karikázó (vol. 1, no. 2). In his article, Mr.Czom­­po mentioned the fact that during this festival it could be very clearly seen that the ensembles were reaching for a new dimension by leaving the popular gypsy mu­sic behind and turning to more traditional, ancient mu­sic and musical instruments. In my opinion, the music is only a resultant cause in this new trend and indeed, the evolution started by a return to the simple and traditional dance movements themselves. Hungarian folk dancing reached its apex ten years ago. írom that point there was no upward mobility. This,of course, does not mean that folk dancing has re­gressed since then; on the contrary, a new dimension came into being whereby the high quality of the intri­cate was infused with the simple and traditional, thus making it more "folk" than "dancing. " As I see it, this course of events in dancing is what led to a change in the use of authentic music and folk instruments. Translated by Kriszta Venczel László Kürti NEWS The 1976 "FESTIVAL OF AMERICAN FOLK LIFE" , sponsored by the Smithonian Institute will be staged on the Mall in Washington D.C. between August 22-29. A Folklore Group from Hungary will be guest - per­forming at the Festival. From the 29th of August until the middle of September, this ensemble of dancers and musicians is planning to tour the United States. Any per­sons interested in organizing a show featuring this group, please contact: RUTH JORDAN, Division of Performing Arts, L'Enfant 2100, Smithonian Institute, Washington D. C. 20560 Participants living in America were chosen by the Institute as a result of a research for groups and in­dividuals who still practice the traditions that they brought from the old country, as a natural part of their everyday lives. Out of the various groups observed, the following were invited: members of an old Hungarian community from Albany, Louisiana (ARPADHON) who still cele­brate their harvests by dancing, (the crop consists of strawberries in their case); and Kálmán Magyar sr., who has been playing the zither since his childhood in Kiskunhalas. Now, he enjoys playing this • instrument with members of his family. He will appear at the fes­tival with his daughter-in-law,Judith. He makes the instruments ("citera") himself. M ji'u,;..i i ft n ' if ' *i',I»' i»' '»i 'fr"*"*"*1 li|,i'»t,Hi|,ll»ni|<Li The HUNGARIAN HERITAGE FESTIVAL will be held on September 11th at the Garden State Arts Center in Holmdel, N.J. Among the participants are the "Kodály Chorus" and the Scout Folk Ensemble of New Bruns­wick and the "Hungária" Ensemble. 1 ‘ l|, u ij, I I ,|. I I ' 1 IIn ■ l,|, " 1 I .|. I ■ ![■ I 11)» 1 I !)• I 1 111(« I I IT I 1 » 111|: 1 I IN 11 »T PERFORMANCES: =T*The New Brunswick Hungarian Scout Folk Ensemble participated in a Bi-Centennial Show in Bridgeport,Con­necticut on May 16, 1976. ** The Cleveland Theatre and Dance Company and the "Regős" Scout Ensemble of West Cleveland contrib­uted with their fine dancing to the Hungarian-American Bicentennial Concert that was held in Music Hall in Cleveland, on May l6th, 1976. Other participants were the Mindszentv Chamber Choir and Alex Udvary & his folk orchestra. The Dance Institute of Cleveland ap­peared with "Hess Heia"^ (chor. :K. Falvav). The chor­eography was taught by Eva Kish, instructor at the Institute. The Bi-Centennial concert was sponsored by the United Hungarian Societies and directed by István Soltay. **Folk Dance Show at Hunter College, on May 22nd 1976 featuring three groups: Janosik Polish Ensemble, the George Tomov Jugoslav Ensemble and the HungariaEns. This was the first time in New York, that three en­sembles joined hands to present the diverse styles and moods in the folk cultures of Eastern Europe, in one show. The Hungária Ensemble performed: Legenyes. Cigánytanc, Szakácsné Tánc (Ugrós) and Széki Tánc­ház.

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