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Journal articles on the topic 'Hungarian dance'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Janku, Anna. "The Role of Informants and Archive Films in the Hungarian Folk Dance Revival Movement<sup></sup>." Musicological Annual 61, no. 1 (2025): 61–77. https://doi.org/10.4312/mz.61.1.61-77.

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The Hungarian táncház [dance house] movement revolutionised the revival of traditional folk dances in urban contexts. This study examines the role of adatközlők [informants], master–disciple relationships, and archival film recordings as reference sources in the transmission and reconstruction of traditional dances within the Hungarian folk dance revival.

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2

Fogle, Emily. "Hungarian Dance." American String Teacher 42, no. 4 (1992): 52–53. http://dx.doi.org/10.1177/000313139204200422.

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Kun, Attila. "The Hungarian Dance Theatre Education." Tánc és Nevelés 2, no. 2 (2021): 101–13. http://dx.doi.org/10.46819/tn.2.2.101-113.

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The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.

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Brum Kagyerják, Patricia Alejandra. "The Vision of Hungarian Folk Dance in the Diaspora : Folk Dance Teaching Methodology Work Plan for the Uruguayan Tündérkert Folk Dance Ensemble." Tánc és Nevelés 4, no. 2 (2023): 113–33. http://dx.doi.org/10.46819/tn.4.2.113-133.

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How can Hungarian folk dance education be implemented in the Hungarian diaspora communities in South America, particularly in Uruguay, with goal-oriented and development-focused results? Following linguistic assimilation, Hungarian folk dance is one of the most important pillars keeping the Hungarian community in Uruguay alive. In order for Hungarian identity to continue to remain thrive in Uruguay, conscious development in the field of dance education is essential. The work plan presented in this study aims to help dance teachers efficiently and accurately organize, plan, and deliver dance cl

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5

KOVÁCS, ÖRS. "HUNGARIAN ELEKTRA." Macedón Tudományos és Kulturális Közlemények 6, no. 2 (2023): 2–10. http://dx.doi.org/10.56309/zjkscp83.

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Absztrakt A balkáni lánctánckultúra különleges helyet foglal el a tradíciót kiváló művészi tehetséggel feldolgozó, iskolaalapító koreográfusok életművében. Ennek egyik legszebb példája Novák Ferenc Magyar Elektra című filmalkotása. A Magyar Elektra kivételes lehetőséget biztosított Fülöp Viktornak, a kivételes balett-táncosnak. A szerepet megtestesítő Fülöp Viktor a mű leglényegesebb aspektusát később figyelemre méltó tisztasággal fogalmazta meg: „A folklór számomra olyan, mint egy gyönyörű terebélyes fa, amelynek a gyökere jó mélyen a földben található, s ami onnan kinő, az is földszagú, tehá

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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.

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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual con

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7

Yu, Yang. "VOICE, CONTEXT, LANGUAGE - THE DEVELOPMENT OF HUNGARIAN MUSIC FROM DANCE TO MUSIC: A STUDY OF HUNGARIAN MUSIC FOCUSING ON "CHARDASHI"." Scientific heritage, no. 125 (November 23, 2023): 8–11. https://doi.org/10.5281/zenodo.10199717.

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Chardash (Hungarian: Cs á rd á s, Cz á rd á s, pronounced char'dash, derived from cs á rda, meaning inn), also known as Chardash, Chardash, Chardash, Chardash, Chardash, Chardash, Chardash, is a Hungarian folk dance. Originating from the Mazars and Gypsies. Chaldash originated from verbunkos in the 18th century and was originally a dance music used by Hungarian army conscripts. Its characteristic is the variation of rhythm: slow and fast. Start with a slow pace (class ú) and end with a fast pace (friss). There are also other types of rhythm changes, called ritka cs á rd á s, s ü r ü cs á rd á

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Pávai, István. "Zoltán Kodály and Hungarian Dance." Studia Musicologica 62, no. 3-4 (2022): 309–26. http://dx.doi.org/10.1556/6.2021.00020.

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Abstract In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochor

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9

Nemes, Robert. "The Politics of the Dance Floor: Culture and Civil Society in Nineteenth-Century Hungary." Slavic Review 60, no. 4 (2001): 802–23. http://dx.doi.org/10.2307/2697496.

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The nineteenth-century Hungarian dance floor provides an invaluable tool for mapping the contours of both an emerging civil society and the political practices of Hungarian nationalism. During the 1840s, consciously “national” costumes, music, dances, and language became de rigueur in all areas of social life, and especially on die dance floor. Because associations and newspapers linked such cultural practices to opposition politics, these balls allowed a large number of men and women usually excluded from public life to display their patriotism and political allegiances. In this way, the diff

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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.

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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique syste

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11

Bogáti, Fanni, Judit Benedek, and Melinda Szitt. "Corrective Training for the First Years of Classical Ballet at the Hungarian Dance University." Tánc és Nevelés 4, no. 1 (2023): 41–53. http://dx.doi.org/10.46819/tn.4.1.41-53.

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At the beginning of the academic year all students newly admitted to the classical ballet dancer training course of The Hungarian Dance University are assessed by the Child Development and Therapy Centre called Bárányfelhő. After the assessment of their motor and neurodevelopment, children can have special skills development training integrated in their curriculum. Between the 33 children assessed in September 2020 the most significant differences were found in cross-body movements and the independent use and coordination of the upper and lower extremities. In the seventh month following the e

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Carter, Selene B. "Rudolf von Laban’s Concepts in Embodiment." Theatron 15, no. 4 (2021): 45–53. http://dx.doi.org/10.55502/the.2021.4.45.

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I will present the foundations of Laban Movement Studies and its theoretical framework as theorized by Hungarian dancer-scientist-artist Rudolf von Laban (1879-1958). The four centers of his work that systemize and articulate human movement in relationship to the mover’s environment; the body, effort (antrieb), shape and space, aided by members of the Indiana University Contemporary Dance Theater. I will explicate his notation system for movement, Labanotation, and provide an historic locus for his work in the context of the Hungarian avant-garde.

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Oláh, Tamás. "„Haj, hogy lőnek, hej, hogy öldökölnek” : Pataki László: Boszorkánytánc, 1945)." Theatron 18, no. 1 (2024): 3–20. http://dx.doi.org/10.55502/the.2024.1.3.

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On the 29th of October in 1945, the (Hungarian) People’s Theatre of Subotica premiered Béla Balázs’s Witch Dance (Boszorkánytánc), which was the debut production of the first professional Hungarian acting company in Vojvodina, a company of young amateurs. This analysis not only reconstructs the elements of the performance on the basis of the remaining sources, but it also examines, in detailed manner, the social and political circumstances of the production directed by László Pataki, and highlights the important role of the theatre institution in the ideological re-education of the Hungarians

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Kézér, Gabriella. "Project Pedagogy in Commercial Dance Education : Soundpainting with Body." Tánc és Nevelés 5, no. 2 (2024): 107–19. https://doi.org/10.46819/tn.5.2.107-119.

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This study analyses the application of project-based learning in a group of second-year commercial dance students (n = 16) at the Hungarian Dance University’s the dancer and coach training programme. The study sheds light on how the project aligned with curricular and extra-curricular objectives and requirements, as well as how it contributed to the students' individual and group development. The final product was a performance entitled Soundpainting, which featured musical and visual improvisations and drew upon notations from Treatise, a collection by the English experimental composer Cornel

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15

Felfoldi, Laszlo. "Connections between Dance and Dance Music: Summary of Hungarian Research." Yearbook for Traditional Music 33 (2001): 159. http://dx.doi.org/10.2307/1519640.

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16

SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without

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17

Papp-Danka, Adrienn, and Anita Lanszki. "Distance Learning at the Hungarian Dance Academy during the COVID-19 pandemic." Tánc és Nevelés 1, no. 1 (2020): 59–79. http://dx.doi.org/10.46819/tn.1.1.59-79.

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The Hungarian government prescribed distance learning for higher education institutions due to the spread of the coronavirus epidemic which was challenging at the Hungarian Dance Academy. The development of movement skills was difficult without personal presence, no common e-learning practice had existed in the institution before the pandemic. In the research we explored the distance learning and teaching practices developed at the theoretical and dance courses at the Hungarian Dance Academy, as well as the experiences of both teachers and students during the 3 and a half months. Instructors (

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18

Trencsényi, László. "Witness Hills: An Invitation to Dance." Tánc és Nevelés 3, no. 2 (2022): 169–72. http://dx.doi.org/10.46819/tn.3.2.169-172.

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The Hungarian Pedagogical Association has always considered drawing on the examples and strengths of notable predecessors to contemporary pedagogy to be a vital mission which can help teachers who struggle with everyday challenges and, at times, are vulnerable to burnout. A symbolic tool for taking up this task is the publication activity of the Association. The book ‘Tanúhegyek’ (Witness Hills in English - a metaphor) was published in 2018 with support from several municipalities and institutions of higher education. The book contains more than fifty portraits of famous Hungarian drama educat

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19

Egey, Emese. "Translation Dilemmas at the Hungarian Dance University." Tánc és Nevelés 2, no. 2 (2021): 45–60. http://dx.doi.org/10.46819/tn.2.2.45-60.

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The amount of documents for translation is constantly growing at the Hungarian Dance University. The present paper briefly outlines the basic principles and some of the results of translation studies as an independent discipline. It takes a glimpse into certain issues of translation ethics and translation techniques. Based on texts for translation at the University, several examples highlight translation challenges in general and creating (dance) terminology. A detailed section is devoted to the necessity of proofreading, revision and the importance of revising source language texts as well. A

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20

Tongori, Ágota. "A World Re-Created : The Life of The Hungarian Ballet Dancer, Dance Educator, and Choreographer Kalman Solymossy in Australian Emigration." Tánc és Nevelés 3, no. 2 (2022): 125–56. http://dx.doi.org/10.46819/tn.3.2.125-156.

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After fleeing Hungary due to his participation in the 1956 revolution, Kalman Solymossy left behind his renowned status as a dancer of the Budapest Opera House and had to start his life from scratch. Dance held a central position in Solymossy’s life, whatever the circumstances. Although there was no demand for dancers when he arrived in Australia, his everlasting optimism, endurance and courage helped him stick to the path he had chosen, leading him to establish the largest ballet school of his time in Australia while educating and supporting dancers, many of whom later chose dance as their pr

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21

HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.

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AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradi

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Lanszki, Anita, Adrienn Papp-Danka, and Eszter Szabó. "Impact Assessment of a Methodological Program in Dance in Hungarian Public Education." Tánc és Nevelés 2, no. 1 (2021): 73–89. http://dx.doi.org/10.46819/tn.2.1.73-89.

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In the EFOP-3.2.6-16 Tender framework to Facilitate the Development of Student’ Skills in the Public Education System, the Hungarian Dance University developed a program with methodological guides and teacher training programs for ballroom dance, classical ballet, commercial dance, folk dance, and modern dance education. The training, held in 2018 and 2019, was attended by 126 graduate dance teachers from 57 public education institutions, mainly primary art schools. In this research, those teachers’ experiences are examined who included the methodological program in the 2019/2020 school year.

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23

Diószegi, László. "Historic moments of hungarian folk dance: From theGyöngyösbokrétato the dance house movement." Hungarian Studies 22, no. 1-2 (2008): 3–8. http://dx.doi.org/10.1556/hstud.22.2008.1-2.1.

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24

Richter, Pál. "Traditional Village Music and Dance in Urban Milieu." Musicological Annual 61, no. 1 (2025): 11–31. https://doi.org/10.4312/mz.61.1.11-31.

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The Hungarian revival movement, táncház [dance house], transported rural traditional music and dance into urban milieu more than fifty years ago. A thorough comparative survey of aesthetical factors concerning content, performing style and circumstances of existence enables to determine whether cultures governed through oral and communal tradition can survive long term in a foreign environment.

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Éltető, Andrea, and Tamás Szemlér. "Hungary in the European Union – Cooperation, Peacock Dance and Autocracy." Comparative Southeast European Studies 71, no. 3 (2023): 272–99. http://dx.doi.org/10.1515/soeu-2022-0051.

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Abstract Hungary had been one of the frontrunners in the political and economic transition process in Central and Eastern Europe in the 1990s, and in 2004 it joined the European Union. Since 2010, Hungary has gradually become an autocratic regime, a process that has been facilitated by the political benefits of EU integration and money transfers. While the support of the Hungarian people for EU membership has remained high, tensions have increased between the Hungarian government and EU institutions. This article evaluates how the external shock of Russia’s war against Ukraine has shaken Hunga

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Kovács, Nóra. "The Paradox of Authenticity." Tánc és Nevelés 2, no. 1 (2021): 153–57. http://dx.doi.org/10.46819/tn.2.1.153-157.

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The book on the Slovakian authentic folklore movement by the American scholar Joseph Grim Feinberg working in the Czech Republic is a special treat for those interested in dance anthropology. It is always inspiring to look at social and cultural phenomena about the East-Central European region through the eyes of a researcher who is an outlander; this applies to the realm of music and dance, too. The title suggests two fundamental issues that may be interesting and important for Hungarian readers acquainted with the world of folk dancing. One of them is the authenticity of folk-dance related p

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27

Katona, Eszter. "Bodas de sangre de Federico García Lorca en las tablas húngaras. Algunas representaciones memorables entre 1957-2014." Acta Hispanica 19 (January 1, 2014): 79–100. http://dx.doi.org/10.14232/actahisp.2014.19.79-100.

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The House of Bernarda Alba was the first play of Federico Garcia Lorca that was staged by a Hungarian company in 1955. Hungarian directors followed with close attention the dramas of the Andalusian playwright and two years later, in 1957, the Hungarian National Theater included on its program another play of Lorca, Blood Wedding, written in 1933. Since then, the popularity of this drama on Hungarian stages has not diminished at all, it also inspired dance and opera adaptations. Recently, in the 2013-2014 season, Magyar Színház theater has also staged this play. The aim of this paper, which has

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Borbáth, Katalin. "Circle Dance and Dance Therapy for Talented Children with Disadvantages and Special Needs." Tánc és Nevelés 2, no. 1 (2021): 135–47. http://dx.doi.org/10.46819/tn.2.1.135-147.

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At the meeting points of different cultures, a unique quality is born. That is what we can experience when sacred round dance, dance therapy, and talent development meet and overlap. The study aims to present a project operated by the Budapest 10th district Educational Consultant Team with the support of the Hungarian National Talent Program. The program, named Square-Dance-Theatre-Scene, was started as an experiment, integrating 12–14-year-old students, including psychologists, drama experts, art therapists, dance therapists, and dance teachers. In the paper, a sacred dance therapeutic worksh

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29

Lázár, Imre. "Dance as a Remedy of Lifestyle Medicine, a Cultural-psychophysiological Approach." Kaleidoscope history 11, no. 22 (2021): 191–210. http://dx.doi.org/10.17107/kh.2021.22.191-210.

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Dance is a traditional element of cultural-psychophysiological homeostasis. The chapter approves the role of dance in maintaining mental and bodily health. As dance is deeply cultural by its nature, it is worth extending its framework of healing from social-psychophysiological towards the cultural. The chapter explores the cultural, social, psychological, and bodily benefits and homeostatic functions of dance in an age of sedentary lifestyle. Sedentarism proved to be a silent killer responsible for increased cardiovascular, oncological morbidity and mortality; therefore, one should explore the

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Molnár, Cecília, Zsófia Pálya, and Rita M. Kiss. "Static Balancing Ability and Lower Body Kinematics Examination of Hungarian Folk Dancers: A Pilot Study Investigating the “Kalocsai Mars” Dance Sequence." Applied Sciences 11, no. 18 (2021): 8789. http://dx.doi.org/10.3390/app11188789.

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Folk dance is a collection of traditional dances that requires years of practicing to perform correctly. The aim of the present study was to develop a complex biomechanical measurement procedure that investigated Hungarian folk dancers’ balancing ability and lower body kinematics through a dance movement called “Kalocsai mars”. Therefore, 11 dancers’ motion (5 female and 6 male; age: 20.5 ± 2.5 years; height: 173.82 ± 7.82 cm; weight: 64.77 ± 8.67 kg) was recorded with an optical-based motion capture system and force platforms simultaneously. Before and after the dancing session, static balanc

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Lipták, Dániel. "István Pávai (2020). Hungarian Folk Dance Music of Transylvania." Studia Musicologica 62, no. 3-4 (2022): 419–22. http://dx.doi.org/10.1556/6.2021.00030.

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Kavecsánszki, Máté. "Representing National Culture on the Dance Stage: A Chapter from the History of Hungarian Ballet between the Two World Wars." Arts 12, no. 2 (2023): 41. http://dx.doi.org/10.3390/arts12020041.

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In the case of a mixture of dance languages, especially in dance productions that are the result of a conscious creative process, the interpretation of the symbolic content and message of the dance language elements becomes important. It is in this context that the dance art endeavours of the 19th and 20th centuries in Hungary can be examined, which aimed at staging folk dance culture on the one hand, and at developing a modern language of dance art by using folk dance culture as a source of inspiration on the other. The underlying motivations behind these dance art endeavours could be differe

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Tongori, Ágota. "In Favour of 21st Century Intercultural Education." Tánc és Nevelés 5, no. 1 (2024): 113–25. http://dx.doi.org/10.46819/tn.5.1.113-125.

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In the present article I present some activities carried out with a multinational group of ballet artist and dancer and coach students in theoretical subjects, e.g. Hungarian Culture or Dance in Home Country. The students regularly shared their newly constructed knowledge with their peers and instructor through products created on various digital platforms. In line with novel intercultural teaching methodology, building trust by offering choices in topics or presentation forms was a key element. The long-term goals were to provide students with a sense of belonging to a universal human culture

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Pásku, Veronika. "The Change of the Performance Style of a Fiddler from the Gyimes Region Depending on the Collecting Situations<sup></sup>." Musicological Annual 61, no. 1 (2025): 151–79. https://doi.org/10.4312/mz.61.1.151-179.

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János Zerkula (1927–2008) was an unavoidable figure of the folk music of the Gyimes region and the Hungarian dance house movement. Since the 1960s, numerous folk music researchers, and enthusiastic folk music lovers recorded him. The study examines how different collection situations have influenced his performance style.

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Gráfik, Imre. "Tudomány magyar kisebbségi közegben – a néprajztudomány felől." Fórum Társadalomtudományi Szemle 27, no. 1 (2025): 47–64. https://doi.org/10.61795/fssr.v27y2025i1.05.

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Science in a Hungarian Minority Environment—From the Point of View of Ethnography The study attempts to outline the main aspects of ethnographic research on the Hungarian minority in Slovakia and the content of the papers published during the quarter of a century of the Fórum Társadalomtudományi Szemle [Forum Social Sciences Review], and to present the results of the research on national minority culture. In conclusion, the ethnographic and cultural anthropological publications of the Forum Social Sciences Review have in many respects broadened our knowledge of the culture of the Hungarian min

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Grynyshyna, Maryna. ""Expressive Dance" as a Form of Approbation of the "Anti-theatre" Programme of Zurich Dadaism." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 125–31. https://doi.org/10.31866/2410-1176.47.2022.269620.

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The purpose of the article is to formulate the basic principles of the “anti-theatre” programme of Zurich Dadaism, using the concept of “expressive dance” by Rudolf van Laban as a form of their approbation. The research methodology is based on a basic combination of historical-reconstructive, structural-analytical and comparative methods. Results. The article presents the practice of Hugo Ball’s Cabaret Voltaire in Zurich, from which the history of the most radical art movement of the “historical” avant-garde began in 1916, and arti

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Lampert, Vera. "Collected Writings of László Lajtha, Composer and Pioneer of Ethnomusicology." Hungarian Studies Review 52, no. 1 (2025): 86–96. https://doi.org/10.5325/hungarianstud.52.1.0086.

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Abstract This review essay examines a critical edition of the collected writings of László Lajtha, a prominent twentieth-century Hungarian composer and ethnomusicologist. The collection, edited by Melinda Berlász, compiles Lajtha’s writings from 1910 to 1962, including previously unpublished manuscripts and translations of works originally in other languages. It gathers his texts by subject into six chapters, covering topics such as Hungarian folk music, dance, musical instruments, and personal reflections. This publication is likely to spur further research into Lajtha’s life, compositions, a

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Lengyel, Emese. "The Categorization of the Operetta Dance Genre in the Táncművészet Magazine between 1952 and 1956." Arts 12, no. 5 (2023): 197. http://dx.doi.org/10.3390/arts12050197.

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The aim of the Hungarian state socialist regime to renew the operetta art manifested in the transformation of operetta-playing via the setting of its main cultural objectives. Once private theatre organizations were disbanded in 1949, newly written and composed operetta pieces had to be adjusted to meet the expectations cultivated by those responsible for the drawing up of the contemporary cultural policies, not only in terms of theme, subject, and dramaturgy but also, as productions designed for stage performance. At that time, questions regarding the realm of operetta dance and choreography

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Hoppu, Petri. "The Indigenization of Swedish and Hungarian Elements in Finnish Folk Dance." Narodna umjetnost 51, no. 1 (2014): 71–87. http://dx.doi.org/10.15176/vol51no104.

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Gergely, Zoltán. "Military Songs in the Northern Part of the Transylvanian Plain." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 249–57. http://dx.doi.org/10.24193/subbmusica.2020.2.16.

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"The traditional farewell from men starting their military service belongs to those folk customs, which are remembered only by the older generations. Up to the suspending of mandatory military service in the Hungarian language area, therefore in the Northern part of the Transylvanian Plain as well, the day before the send-off a festive dinner and dance party was organized at the house of the recruit, then in the morning he was accompanied to the railway station with music. The melodies of this custom are quite varied, while the most common starting lines are: “They are cutting (or cleaning) th

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Miller, Tyrus. "Shifting: Worker Culture and Life Reform in the Madzsar School." Dance Research Journal 45, no. 2 (2013): 124–31. http://dx.doi.org/10.1017/s0149767713000041.

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This recent exhibition in Budapest assembles a fascinating documentation of the life and work of Dr. Alice Madzsar-Jászi (Photo 1), who, from her first opening of a dance school in 1912 to her untimely death in 1935, wove an intricate path through the cultural, political, and artistic avant-gardes of modern Hungary. At the turn of the century, just ten years before Madzsar launched her school, Isadora Duncan had made her solo debut in Budapest, where her improvisation to Strauss's “Blue Danube Waltz” had affected the Hungarian audience like “an electric shock” (Duncan 1927: 74). Madzsar was on

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Katona, Eszter. "Las interpretaciones de La casa de Bernarda Alba en los teatros húngaros en el siglo XXI." Acta Hispanica 18 (January 1, 2013): 105–29. http://dx.doi.org/10.14232/actahisp.2013.18.105-129.

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Federico García Lorca's last play, The House of Bernarda Alba was in fact his first drama that was presented to the Hungarian audience in the 1950s. Nearly sixty years have passed since then, and numerous Hungarian theaters have included this play in their repertoire. I managed to trace 19 premiers from the period of 1955-2000 and 25 since the turn of the century. However, behind these high numbers we do not always find traditional theatrical presentations working with Lorca’s text. Other adaptations, like dance or musical plays, were also inspired by Lorca's drama, but with their different fo

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Eitler, Ágnes. "Taylor, Mary N.: Movement of People: Hungarian Folk Dance, Populism and Citizenship." Acta Ethnographica Hungarica 67, no. 2 (2023): 521–24. http://dx.doi.org/10.1556/022.2023.00001.

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Szőnyei, Tamás. "Fear of the Folk Dance Houses: State Security Surveillance of the Magyar Nóta Scene and the Hungarian Folk Music Revival in the 1970s." Betekintő 18, no. 4 (2024): 33–52. https://doi.org/10.25834/bet.2024.4.2.

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In the early 1970s, following in the footsteps of great twentieth-century Hungariancomposers Béla Bartók and Zoltán Kodály, young musicians rediscovered, relearned,and handed down to their generation the treasures of traditional Hungarian folkculture: music and dance. The principal homes of this modern urban folk revivalwere the folk dancing houses. Here, young communities formed around the pioneering bands that regularly travelled to neighboring countries—particularlyRomania, home to a million-strong Hungarian minority—to learn musical practices and collect original music and dances from the

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Ujvári, Hedvig. "A Nemzeti Színház balettbemutatói a Magyar Királyi Operaház megnyitása előtti utolsó években." Theatron 18, no. 1 (2024): 192–209. http://dx.doi.org/10.55502/the.2024.1.192.

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Before the opening of the Hungarian Royal Opera House, the National Theatre served as the home for various theatrical genres alongside prose, including opera and ballet. Although the opening of the new opera house in 1884 brought numerous advantages and conveniences, it did not solve the fundamental content-ideological problem for ballet, namely the delayed emergence of national dance. This study aims to outline the situation, role, and evolution of stage dance in the cultural and institutional context of the 1880s, focusing on three lesser-explored ballet productions (Rococo, Satanella, Renai

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Jóri, Anita. "On the terminology of electronic (dance) music." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 467–83. http://dx.doi.org/10.31724/rihjj.44.2.9.

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Due to rapid technological developments, the terminology of electronic (dance) music is constantly changing. This also causes challenges for the discourse community of electronic dance music in the use of different technical terms. This paper gives a general overview on the subject as it is a pioneer investigation of research. Firstly, it summarises the characteristics of the discourse community’s language use. Later, it highlights the different types of technical terms used by the terminology users. For this, tech terms of a web discussion forum are analysed in detail. The article also descri

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Richter, Pál. "Dance house under the socialist regime in Hungary." Studia Musicologica 56, no. 4 (2015): 407–15. http://dx.doi.org/10.1556/6.2015.56.4.8.

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At the beginning of the 1970s there was a drastic turn in the history of Hungarian folklorism brought by the ‘dance house’ [táncház] movement. This movement, based on civil initiative, aimed to evoke and revive the patterns of peasant dance and music culture of local communities, preserving its aesthetic values. Within its confines, many young people followed the example of the initiators, Ferenc Sebő and Béla Halmos through the intensive appropriation of instrumental folk music. Their professional leaders were such folklore researchers as Lajos Vargyas, Imre Olsvai, and György Martin, later t

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Tari, Lujza. "Instrumentale Melodieanfänge und ihr Verhältnis zur Form am Beispiel historischer und gegenwärtiger ungarischer Tanzmelodien." Studia Musicologica 64, no. 3-4 (2024): 287–301. http://dx.doi.org/10.1556/6.2023.00016.

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AbstractThe aim of this study is to analyze the beginning of different dance tunes in connection with variously performed dance tunes. The purpose of this paper is also to draw attention to the need for micro-analysis, which has been neglected for a long time in instrumental folk music research, in order to better understand instrumental musical melody creation. The selected musical examples come from different (partly historical) eras and different geographical areas of Western Transdanubian and Transylvanian Hungarian folk music collections. Typical starting elements (fifth-forth changes, di

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Korzenszky, Tamás. "Traditional Hungarian Romani/Gypsy dance and Romanian electronic pop-folk music in Transylvania." Acta Ethnographica Hungarica 60, no. 1 (2015): 43–51. http://dx.doi.org/10.1556/022.2015.60.1.5.

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Loya, Shay. "Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert." Journal of the American Musicological Society 69, no. 2 (2016): 409–76. http://dx.doi.org/10.1525/jams.2016.69.2.409.

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Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethove

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