Managing Editor: Editorial Board

Hungarian Heritage (HU ISSN 1585-9924) presents an overall picture of the traditional culture of Hungary and the Hungarian folklore revival. It features original articles on folk literature, folk music, and folk dance (with special focus on the Hungarian táncház movement), and also deals with folk mythology, rituals, customs and games, and traditional arts, crafts, and architecture. Book reviews, and a critical look at some topical exhibitions, films, videos and sound recordings form a part of every issue, as do reports on the late folk dance and music festivals, folk dance and music camps and folk craft fairs. The journal also provides practical and up-to-date information on coming events (festivals, fairs, exhibitions, etc.), and new audio releases. Hungarian Heritage covers the traditional culture of Magyars living within and outside the borders of present-day Hungary, as well as the culture of Hungary’s non-Magyar ethnic minorities. The table of contents for each issue, along with abstracts of the articles and examples of the music discussed, can be seen on the Internet at www.folkline.hu, as can the “The Folk Scene in 2000—Practical Information” section on upcoming events.

Editor: MIHÁLY HOPPÁL Assistant Editor: ESZTER CSONKA-TAKÁCS Managing Editor: ÁDÁM MOLNÁR

Editorial Board LÁSZLÓ FELFÖLDI (ethnochoreology) †MÁRTA FÜGEDI (folk art) IMRE GRÁFIK (Hungarians living outside Hungary) BÉLA HALMOS (the táncház movement) ÉVA HÉRA (festivals and fairs) ILDIKÓ KRÍZA (folk narrative) IMOLA KÜLLÔS (book reviews) FERENC SEBÔ (ethnomusicology) ATTILA SELMECZI KOVÁCS (exhibitions) JÁNOS TARI (films and film reviews) VILMOS VOIGT (theoretical issues)

Editorial correspondence (manuscripts, communications, books, cds, cassettes, etc. for review) should be sent to the European Folklore Institute: [email protected] or Budapest, Szilágyi Dezsô tér 6, H-1011 Hungary. Subscription information: Annual subscription rate, payable by cheque or bank transfer, is US$ 40.00. Orders may be placed with Molnar & Kelemen Oriental Publishers, Szeged, P.O. Box 1195, H-6701 Hungary. Copyright Hungarian Heritage retains the copyright on everything it publishes. Hungarian Heritage (HU ISSN 1585-9924) is published twice a year for the European Folklore Institute by Molnar & Kelemen Oriental Publishers.

Front cover illustration The Muzsikás Band Photo by Béla Kása

Back cover illustration Photo by Péter Korniss Hungarian Heritage 2000 Volume 1 Numbers 1-2 Spring/Autumn

European Folklore Institute

Budapest Sponsored by Ministry of National Cultural Heritage

The National Cultural Fund of Hungary

Maps by Zsuzsa Draskovits

Typography and graphic design by János Pusztai

© 2000 European Folklore Institute All rights reserved. No part of this publication may be reproduced, in any form or by any means, electronic, photocopying or otherwise, without permission in writing from the publisher.

HU ISSN 1585-9924 Printed in Hungary Editorial Preface ...... 7

Articles Márta Fügedi: The Discovery of Matyó Folk Art ...... 9 György Györffy: István Györffy, a Pioneer of Hungarian Ethnography ...... 19 Béla Halmos: The Táncház Movement ...... 29

Reports László Göncz: Hungarians in the Muravidék ...... 41 István Nagy and Rozália Raj: The Vajdaság (Voivodina) Center for Hungarian Folklore ...... 45 Imre Gráfik: Where Regions Meet: Carpathian Basin Days ...... 48 László Kelemen: The “Final Hour” Folk Music Project ...... 50

Photographic Essay Ferenc Cservenka: Images of Tradition (with an Introduction by Mihály Hoppál) ...... 53

Exhibitions Attila Selmeczi Kovács: “The Folk Culture of Hungary”: The Permanent Exhibition of the Hungarian Museum of Ethnography ...... 68 Miklós Cseri: The Szentendre Open-Air Museum of Ethnography ...... 73

Book Reviews Publications on Hungarian Historical Folklore (Réka Kiss) ...... 77 ACTA 1997. I-II. Székely Nemzeti Múzeum és a Csíki Székely Múzeum Évkönyve (The Annual of the Székely National Museum and the Székely Museum at Csík) (Gábor Dániel Ozsváth) ...... 81 Hagyományos nôi szerepek (Traditional women’s roles) (Márta Fügedi) ...... 83

Films and Videos Fazekasság I-III. (The potter’s craft) (István Csupor and János Tari) ...... 86

Audio Releases The Muzsikás Bartók Album ...... 88

Festivals and Fairs Pál Bánszky: Festival of Trades and Crafts ...... 90 David Francis and Stan Reeves: The Táncház Festival in Budapest ...... 93

The Folk Scene in 2000—Practical Information Hungarian Folk Exhibitions and Programs at the Museum of Ethnography ...... 96 Program at the Szentendre Open-Air Museum of Ethnography ...... 99 Folk Dance Festivals and Folk Art Fairs ...... 102 Hungarian Folk Dance and Folk Music Camps in Hungary and Romania ...... 110 Where You’ll Find a Táncház ...... 111

Gazetteer ...... 114 Hungarian Heritage Volume 1 2000

Editorial Preface

The aim of Hungarian Heritage is to present an of our material culture that society deems worthy of overall picture of the traditional culture of Hungary, being passed on to future generations. Most of these and of the Hungarian folklore revival. The preser- “objects” are of symbolic significance. Indeed, in vation of our cultural heritage has become an espe- many cases, it is precisely this symbolic meaning that cially important task of late. UNESCO has been is of the essence from the community’s point of view, financing special programs for decades to preserve because it serves to define its cultural behavior. We world heritage sites and the samples of material cul- might say that the reproduction of cultural heritage ture found there: churches, palaces, groups of build- is the “grammar” of tradition. ings, and so on. In the 1990s, a special program was This journal will regularly publish studies of vary- launched to preserve and spread “traditional culture ing lengths, theoretical articles and essays on the and folklore”, i.e., to rescue intangible culture from nature of tradition, and on the viability of the oblivion, and to try to pass on traditional handicraft Bartókian model of the preservation of culture. skills and folk wisdom. Cultural policymakers (Béla Bartók’s idea was to preserve folk culture by throughout the world have finally realized that the incorporating elements of it into the classical cul- spiritual and oral parts of our cultures are a great ture of the twentieth century). We will feature a reg- deal more vulnerable than stones and objects and ular column with reports on projects at the major that, therefore, intellectual riches call for special workshops of traditional culture. Book reviews, as protection in our rapidly globalizing world. well as reviews of current exhibitions, films, videos, Hungarian Heritage, the new journal launched by and sound recordings will constitute a part of every the European Folklore Institute, is a part of this pro- issue, as will reports on the latest folk dance and gram. It publishes original articles on folk literature, music festivals, folk dance and music camps, and narratives, and legends, folk music and folk dance folk craft fairs. The journal will also provide practi- (with special focus on the Hungarian táncház [dance cal and up-to-date information on forthcoming hall] movement), and also looks at mythology, folk events (festivals, fairs, exhibitions, etc.), and on new rituals, customs, and games, as well as traditional audio releases. Finally, we plan to include a photo arts, crafts, and architecture. In other words, our essay in every issue by way of the visual representa- notion of heritage comprehends the most diverse tion of our heritage. forms of traditional artistic self-expression, individ- With such a variety of topics to choose from, the ual and collective alike, and always involves a value Editorial Board is hard put to present a balanced judgement. In this sense, heritage is those “objects” picture of this rich heritage, given its limited finan- 7 Editorial Preface

cial resources. We consider it our duty to not only give cultural homogeneity, but the full blossoming of a faithful accounting of present-day conditions, but each culture in its individual colors. And to appre- also to trace their historical roots, and chart the path ciate and safeguard one’s traditions is to preserve that has led to the transformation of our traditions. one’s cultural identity. Naturally, our journal will deal with Hungary’s We recommend our journal as useful and enter- minority ethnic groups as well, for our cultural her- taining reading to every Hungarian, whether living itage is manifold, and has been shaped by a variety in the territory of present-day Hungary or beyond of influences, the borrowed elements often living on its borders anywhere in the world: may it help the in their original forms. older generations to remember their Hungarian We hope to show that familiarity with one’s own roots, and the younger generation to discover them. cultural traditions does not separate peoples and ethnic communities, but rather brings them together. What the world and Europe really need is not Mihály Hoppál

Budapest, June 1, 2000

8 Hungarian Heritage Volume 1 2000

The Discovery of Matyó Folk Art MÁRTA FÜGEDI (Miskolc)

The discovery of folk culture and folk art in Hungary which featured fifteen “lifelike peasant rooms” in an in the last third of the nineteenth century was moti- attempt to present a full and detailed ethnographic vated by concerns as diverse as the social strata portrait of the country. Reports of the exhibition involved in the process of discovery. Patriotism and noted “the Oriental air of the motley, the vibrant col- national pride, economic considerations, scholarly ors, and the ornate embroidery” (Herich 1886). interest and artistic trends all played a part. Associated Reflecting on the success of the event, a contemporary with a series of landmark events, the discovery of folk commentator wrote: “It was at this exhibition that art took the form of focusing attention on select Hungary discovered herself” (Herrmann 1890: 56). regions, types of objects and styles of ornamentation, The folk art of Kalotaszeg was the most admired, but ones deemed to be “representative” of Hungarian folk the traditional Matyó costumes of the Mezôkövesd art as a whole. Certain preferred elements of peasant “room” also drew enthusiastic crowds. culture even found their way into the national sym- bology of Hungary in a stylized form (Kresz 1968; Hofer 1989; Fejôs 1991). The Matyós living in the southern part of Borsod County were one of the groups which received considerable popular attention in the last decades of the nineteenth century. Ethnographers had shown a scholarly interest in the Matyós quite early on. But their findings had no real impact on the very different popular image of this distinctive group, an image shaped by the romantic “national” mythology of the time. This mythology, like the popularization of Matyó folk art, was the work of zealous artists, writers, and aristocrats committed to encouraging cottage industry. The first description we have of the Matyós appeared in 1857 in the journal Napkelet (The East). Here already, mention is made of this ethnic group’s distinctiveness, with the Matyós being spoken of as “a separate race of Magyars”. The next time the Matyós came into the focus of public attention was in 1885 at the national cottage The first depiction of Matyó peasant wear in the journal Napkelet industry exhibition (Országos Háziipari Kiállítás), (The East) in 1857.

For place names and regions, see the maps and the Gazetteer 9 Márta Fügedi

The public was offered some fascinating new tieth century: “The Matyós stand out with their details about the Matyós in 1891, in the second vol- prominent cheek bones, small eyes, and stocky con- ume of Az Osztrák Magyar Monarchia írásban és stitution”—features which add up to what he calls képekben (The Austro-Hungarian Monarchy in the “Mezôkövesd Tartar” type. Here already, we Words and Pictures), an imposing publication have all the elements that would go into making the launched by Crown Prince Rudolf of the house of Matyós a “representative” ethnic group: bright and the Habsburg. “In and around the market town of multicolored traditional costumes unlike any Mezô-Kövesd, we find a sizeable population of other—and so ostensibly “archaic” and “Oriental” Matyós, a fascinating Magyar stock which traces in origin; anthropological features consistent with its origins to King Matthias Corvinus. The Matyós this “Oriental” interpretation; and personality traits are the most distinctive people of the region as epitomizing everything society most valued in the regards both dialect and traditional costumes; and, Hungarian peasantry: industry, tirelessness, and as a racial type, they are one of the most attractive respect for one’s betters. of all the peoples living in the Great Plain That the Matyós were assigned the role of the (Alföld)” (Kandra 1891: 266). “typical Magyar” from the first moments of their Kandra describes the Matyós’ traditional cos- discovery is illustrated by several striking examples. tumes as downright “glaring”; but the chief attrib- Mihály Munkácsy, the celebrated late-nineteenth- ute of the people themselves, he tells us, is industry. century painter, in his search for models for his His depiction of the Matyó “racial type” would splendid Honfoglalás (Taking Possession of the New become their standard characterization in the twen- Homeland), travelled the country with the photog-

The Borsod County “room” at the national cottage industry exhibition of 1885 held in Budapest.

10 For place names and regions, see the maps and the Gazetteer The Discovery of Matyó Folk Art

Photograph of some “typically Magyar plebeian characters” in Matyó peasant wear taken for Mihály Munkácsy’s painting, Honfoglalás. Taken in Mezôkövesd in 1891 by the photographer László Schabinszky of Miskolc. rapher László Schabinszky, looking for “typically of a real Magyar woman, a certain innate racial qual- Magyar plebeian characters”. They visited Mezôkö- ity which cannot be acquired... she was everything vesd in October of 1891. Local tradition has it that the Magyar princess, Emöse, must once have been” “the figure of Árpád’s wife was modelled on a Matyó (Szilágyi 1982: 70). woman from Tard”. What contemporaries saw as the Matyós’ salient A decade or so later, a newspaper article reported attributes, thus, fit right in with the Hungarian that the painter István Csók and the drawing teacher national self-image of the turn of the century. It was Lipót Auerbach of Szekszárd sought out the Matyó a process of selection that peaked in 1896, in the migrants working in the Sárköz in order to find “at series of events marking the thousand years of least a trace of something Magyar—a face, a Hungarian statehood. The newly-formed Magyar physique, a costume; something in the heart, the Néprajzi Társaság (Hungarian Ethnographic soul”. They came upon what they were after in the Society) set up an “ethnographic village” as part of person of a Matyó migrant woman: “The way she the millennial celebrations, two “streets” lined with looked and moved had the typical charm and grace houses characteristic of the country’s various regions

For place names and regions, see the maps and the Gazetteer 11 Márta Fügedi

The entire route was lined with crowds of curious Budapesters, who applauded the colorful procession with genuine enthusiasm. A perfect example of what folk culture and its appreciation were thought to consist of at the turn of the century, the event also exemplified the Matyós’ growing self-esteem. The real popularization of Matyó folk art, however, was largely the work of the Archduchess Isabella, Archduke Frederick’s wife, and the self- appointed “chief patroness and propagator of cottage-industrial art”. It was the archduchess who came up with the idea of putting on a Matyó “wedding” at the Isabella Ball, the highlight of the Budapest pre-Lenten festival season (farsang), the goal being “to popularizing the Matyós’ handicrafts”. The gala performance—a wedding play in seven tableaux vivants staged by the Opera’s managing director and enacted by the creme of aristocratic society—took place at the Opera House on February 12, 1911. Several Matyó couples had been brought up to the city to help with the rehearsals. The “authentic” folkish props included furniture borrowed from the Miskolc museum. The costumes were peasant wear brought from Mezôkövesd, and the Alispán of Borsod The ethnographer János Jankó’s photograph of a Matyó couple County was himself one of the players. taken in 1895, in the course of the preparations for the Hungarian The Matyó “wedding” held at the Opera defini- Millennial Exhibition. tively placed Mezôkövesd on the map. Archduchess (Jankó 1897: 36). The Matyó house at “11 Magyar Isabella herself spent an entire day there in the Street” was a phenomenal success. But it was noth- autumn of the same year, getting a taste of the local ing compared to the celebrity the Matyós would folklife, and capturing her impressions in some enjoy after the Matyó marriage ceremonial held in excellent amateur photographs. The Vasárnapi Budapest on September 8, 1896 (Fügedi 1989). Újság (Sunday News) illustrated its account of the The moving spirit behind the event was the Chief archduchess’ visit with some of the photographs she Notary of Mezôkövesd. The wedding party, guests herself had taken. and all, consisted of a select group of 150 locals From then on, it became customary to go to brought to Budapest for the occasion; the bridal Mezôkövesd to see the Matyós if one wanted to bed was transported to the capital in the communi- show a tourist something typically Magyar or folk- ty’s carriage, drawn by three horses. The church cer- ish. A stereotype program soon evolved, with the emony was held at the Terézváros Roman Catholic script reading roughly as follows: a “look” at the Church; the wedding party then paraded through Matyós (if possible on a Sunday or holiday on their the city, and up Andrássy út to the Matyó house in way to church); attendance at a performance of a the Városliget (City Park). medley of folk ways, usually a marriage ceremonial

12 For place names and regions, see the maps and the Gazetteer The Discovery of Matyó Folk Art

Kálmán Kóris’s photo of a Matyó family taken in 1903, when ethnographic research on the Matyós first began.

(for special guests only); the opportunity to view popular did the exhibits prove that Poiret, the cele- some authentic Matyó embroidery, and to make brated French designer, accepted Countess Batthyány’s purchases; and finally, the chance to get one’s pic- invitation to go to Budapest to study Hungarian folk ture taken dressed up in Matyó peasant wear motifs, and perhaps draw on them for inspiration. The (Fügedi 1997: 127-140). following season, the Paris fashion magazines showed The discovery of Matyó embroidery as a mar- a number of embroidered Poiret models with clear ketable tourist attraction was a process facilitated by traces of Matyó influence (Margit Pongrácz’s recollec- a variety of interested parties. tions in the Archives of the Hungarian Museum of The Országos Magyar Háziipari Szövetség Ethnography, 1952. No. 3540). (Hungarian National Cottage Industry Society) That Matyó embroidery in itself would likely sell headed by Countess Batthyány was working on well was soon obvious to the merchants and intelli- propagating and popularizing Matyó embroidery gentsia of the region. Certain members of the local from the turn of the century on. Matyó embroidery intelligentsia were the first to place substantial as well as Matyó dolls were among the items on dis- orders with the peasant women, largely by way of play at the world’s fair held in Turin in 1911. So providing them with some lucrative employment. It

For place names and regions, see the maps and the Gazetteer 13 Márta Fügedi

A picture postcard from the turn of the century.

14 The Discovery of Matyó Folk Art

The Matyó “wedding” at the Opera Ball, February, 1911. Aristocratic “actors” dressed in Matyó peasant wear. Taken from the Vasárnapi Újság (Sunday News), 1911/8, p. 150. was not long, however, before large numbers of customers in the mountain resort towns. If oral Jewish merchants, too, started placing orders specif- testimony is to be trusted, some of these daring ically for retail purposes (Szarvas 1990). saleswoman even ventured into the trenches dur- Matyó embroidery’s metamorphosis into mer- ing the First World War. And some of them chandise promoted a distinctive kind of door-to- made considerable fortunes selling embroidery door sales activity known as batyuzás (going in this way. around with a batyu, a kerchief tied as a sort of Matyó embroidery separated into two distinct sty- knapsack) and faluzás (going from village to vil- listic trends in the first decade of the twentieth centu- lage). Matyó women went from place to place, ry. For textiles embroidered for personal and family the embroidered textiles piled in baskets tied use, they even embellished on the elaborate local tra- with large kerchiefs onto their backs, offering ditions; the articles meant for sale, on the other hand, their wares for sale farther and farther from were mass-produced on poorer-quality linen with home (Fülemile 1991). Some of them went as far larger and looser stitches, using toned-down color as the fashionable seaside resorts, others sought schemes adapted to the taste of the middle classes.

For place names and regions, see the maps and the Gazetteer 15 Márta Fügedi

Photograph of a young Matyó couple taken by the Archduchess Isabella in Mezôkövesd, October, 1911.

Photograph of a young Matyó woman on a bicycle. Mezôkövesd tradition has it that she bought the bicycle with what she earned selling Matyó embroidery.

Matyó Granny Reading Her Bible. Pencil sketch by Sándor Nagy, an artist of the Gödöllô School. 16 The Discovery of Matyó Folk Art

But Matyó folk art had an impact also on the work By the outbreak of the First World War, thus, the produced in that outstanding workshop of the Matyóföld (Matyó Land) or Matyónia, as it was Hungarian Art Nouveau, the Gödöllô School (Fügedi called, “the queen of Hungarian villages”, had estab- 1994). Mezôkövesd was near enough Gödöllô, and its lished its reputation as one of the symbols of folk art famous enough to act as an irresistible mag- Hungarian national culture and folk art. The discov- net. The folklife the artists experienced there, as well ery of Matyó folk art and its appreciation had been as the Matyós’ spectacular folk art was quite in keep- facilitated by some well-intentioned aristocratic ing with their own artistic creed. Through the work of patrons of “folk industry”, by fin-de-siècle artists and the Gödöllô group, thus, Matyó folklife became one intellectuals working to establish a Hungarian nation- of the themes of the Hungarian art of the early twen- al art, as well as by some of the local intelligentsia. This tieth century. Their Matyó paintings—like their initial phase of the popularization of Matyó folk art paintings of Kalotaszeg—were to symbolize the ideal had an essentially positive impact on the ethnic group harmony and beauty of folklife as they conceived it, and its cultural traditions. It gave the Matyós a sense with the Matyós being meant to represent what they of self-worth, a strong sense of identity, and a more saw as “the fullness of life”. Thanks to the Gödöllô secure livelihood. At the same time, the incursion into group, many artists from the rest of the country and the community of outsiders and foreign interests also abroad visited Mezôkövesd. tended to undermine their traditional culture, and would, in time, necessarily lead to conflicts.

The Archduke Joseph Francis and his wife, the Archduchess Anna, dressed in Matyó peasant wear (taken in the early 1920s).

For place names and regions, see the maps and the Gazetteer 17 Márta Fügedi

REFERENCES

FEJÔS Zoltán 1991. “Népmûvészeti divat a múlt század végén és bólumok – adalékok a magyar nemzeti mûveltség történetéhez a századelôn” [The vogue of folk art at the end of the nine- az utolsó száz évben” [The transformation of peasant tradi- teenth and beginning of the twentieth century]. In HOFER tions to national symbols—a contribution to the history of Tamás (ed.) Népi kultúra és nemzettudat. Tanulmány- the Hungarian national culture of the past hundred years]. gyûjtemény [Studies in folk culture and national conscious- Janus 6. 59-74. ness]. Budapest: Magyar Tudományos Akadémia Néprajzi JANKÓ János 1897–98. “Az Ezredéves Országos Kiállítás Néprajzi Kutatóintézete. 143-158. Faluja” [Ethnographic village at the Millennial Exhibition]. In FÜGEDI Márta 1989. “A matyó lakodalom néprajzi látványosság- MATLEKOVITS Sándor (ed.) Magyarország közgazdasági és gá válása” [The Matyó “lakodalom”: from marriage ceremony közmûvelôdési állapota ezeréves fennállásakor. Az 1896. évi to ethnographic spectacle]. Ethnographia. A Periodical of the ezredéves kiállítás eredményei [Hungary’s economy and culture Hungarian Ethnographical Society 100. 313-328. a thousand years on. The achievements of the Millennial —. 1994. “A gödöllôi mûvésztelep és a matyó népmûvészet” Exhibition of 1896]. 9 vols. Budapest: Pesti könyvnyomda- [The Gödöllô artist colony and Matyó folk art]. A miskolci részvénytársaság. Vol. 5 (1879). 815-949. Herman Ottó Múzeum Évkönyve 32. 417-428. KANDRA Kabos 1891. “A mátraalji síkság” [The Plateau at the —. 1997. Mítosz és valóság: A matyó népmûvészet [Myth and foot of the Mátras]. In Az Osztrák-Magyar Monarchia írásban fact: Matyó folk art]. Officina Musei 6. Miskolc. és képekben [The Austro-Hungarian Monarchy in words and FÜLEMILE Ágnes 1991. “Batyuzó asszonyok” [Peddleresses of folk pictures] Vol. 7/2. Budapest: Magyar Királyi Államnyomda. art]. In HALÁSZ Péter (ed.) A Duna-menti népek hagyományos 257-269. mûveltsége. Tanulmányok Andrásfalvy Bertalan tiszteletére [The KRESZ Mária 1968. “A magyar népmûvészet felfedezése” [The traditional culture of the peoples along the Danube. Studies in discovery of Hungarian folk art]. Ethnographia. A Periodical of Honor of Bertalan Andrásfalvy]. Budapest: Magyar Néprajzi the Hungarian Ethnographical Society. 89. 1-36. Társaság. 379-384. SZARVAS Zsuzsa 1990. “A mezôkövesdi zsidóság szerepe a matyó HERICH Károly 1886. Háziipar. Hivatalos jelentés a budapesti népmûvészet elterjesztésében” [The Jews of Mezôkövesd as 1885-ös országos Általános kiállításról [Cottage industry. propagators of Matyó folk art]. In KRÍZA Ildikó (ed.) A hagyo- Official report on the Budapest National Exhibition of 1885]. mány kötelékében. Tanulmányok a magyarországi zsidó folklór Edited by Károly KELETI. Vol. 4. 497-514. körébôl [Tradition-bound. Studies on Hungarian Jewish folk- HERRMANN Antal 1890. “Hazai néprajzi múzeum alapításáról” lore]. Budapest: Akadémiai Kiadó. 217-222. [On the foundation of the Hungarian Museum of SZILÁGYI Miklós 1982. “Századeleji tudósítás a Sárközben dolgo- Ethnography] Ethnographia. A Periodical of the Hungarian zó matyó summásokról” [A turn-of-the century report on the Ethnographical Society 1/1. 19-24. Matyó itinerants working in the Sárköz]. A miskolci Herman HOFER Tamás 1989. “Paraszti hagyományokból nemzeti szim- Ottó Múzeum Közleményei 20. 58-73.

Márta Fügedi (1949-2000), late member of the Hungarian Heritage Editorial Board. From 1973, worked at the Herman Ottó Museum in Miskolc. Research area: fabrics and costumes, and the history of embroidery, with special reference to examples found in the Bükkalja region of northeastern Hungary. Studied both the upper-class embroidery of the northeastern region and the work of blue-dyers and comb makers who produced accessories for peasant costumes. Main research interest: Mezôkövesd and the Matyó question—the discovery of Matyó folk art, the popularization of Matyó costumes and customs, and Matyó art as the representative Hungarian decorative folk art. Studied the cultural history of eighteenth to twentieth- century ornamentation on costumes and other, mostly decorative or gift objects, and provided interpreta- tions of the motifs. Major works: A gyermek a matyó családban [The child in the Matyó family]. Borsodi kismonográfiák 29. Miskolc. 1989; Állatábrázolások a magyar népmûvészetben [Animal depictions in Hungarian folk art]. Officina musei 1. Miskolc. 1993; Mítosz és valóság: matyó népmûvészet [Myth and reality: Matyó folk art]. Officina musei 6. Miskolc. 1997; Borsod-Abaúj-Zemplén megye népmûvészete [The folk art of Borsod-Abaúj-Zemplén County]. Miskolc. 1997; (with Tibor Bellon and Miklós Szilágyi). Tárgyalkotó népmûvészet [Material folk art]. Budpest. 1998.

18 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

István Györffy, a Pioneer of Hungarian Ethnography GYÖRGY GYÖRFFY (Budapest)

István Györffy (1884-1939), one of the pioneers of boyhood, had a passion for the natural sciences, Hungarian ethnography, was born in the market particularly botany. town of Karcag in the Nagykunság, on February 12. István Györffy started secondary school in Karcag; Occupying roughly the central part of the Great he finished it in Késmárk (KeÆmarok, Slovakia)—an Plain (Alföld), the Nagykunság and the Kiskunság old Saxon town in what today is Slovakia but was were named after a Turkic people, the Kipchak then Upper Hungary (Felvidék)—where he had Cumans (“kun” is Hungarian for “Cuman”), who, been sent to perfect his knowledge of the German in 1238, fled to Hungary to escape the Mongol onslaught, and were settled—all seven tribes of them—in the depopulated regions of the Great Plain by Hungary’s King Béla IV. Though assimilat- ed to the Hungarian population in respect of language by the late sixteenth century, the Cumans retained their distinctive soldier status, and enjoyed the same collective liberties as the Hungarian nobility—the reason why the powerful Cumanian free towns, which had weathered the Ottoman occupation (1526-1697), attracted so many of the lesser nobility. István Györffy’s family was of this class: some Györffys had served in the armies of the princes of Transylvania (Erdély), and had been granted a small estate to retire on. The family relocated to the Nagykunság in the eighteenth century, and continued to farm, and engage in various trades. Sámuel, the Györffy who made the move to Karcag, was the town’s first potter. István Györffy’s grandfather was a prosperous szûr (frieze-coat) tailor, a man rich enough to send his sons off to school. István Györffy’s father was a restless man who moved around from place to place and changed jobs with a regularity so disconcerting that his wife asked for a divorce. She herself provided for the education of her son who, from early István Györffy during his university years in 1908.

For place names and regions, see the maps and the Gazetteer 19 György Györffy

language. He first attended the university in archaeology, besides his trailblazing works on fish- Kolozsvár (Cluj-Napoca, Transylvania, then a part ing and herding in Hungary. János Jankó (1868- of Hungary), and then transferred to the Pázmány 1902) specialized in geography and anthropology, Péter University in Budapest, where he received his but, within his short lifetime, also wrote mono- degree. He was still a student at the university when graphs on three of Hungary’s ethnic groups, and his former high school teacher, Zsigmond Bátky, did comparative research on the artifacts of the the eminent ethnographer and museologist, invited peoples of Eastern Europe. Zsigmond Bátky him to join the staff of the Hungarian Museum of (1874-1939), a man of great erudition who pub- Ethnography. lished little, made contributions to geography, eth- Györffy had an intimate knowledge of village nology, cartography, and settlement history, wrote life, having spent a year, as a young lad, working on comparative studies on the folk architecture of the family’s isolated farm outside Karcag at his Eastern Europe, and, with his handbook on the father’s behest. He knew a lot about farming, and subject, laid the foundations of ethnographic had seen frieze-coat tailors, potters, furriers, and museology. many other master craftsmen at work. During his Györffy himself brought all his varied interests high school years, he had toured the Carpathian and considerable learning to bear on the task of Basin on foot with a couple of his friends, travel- researching and explaining the complex world of ling from the Adriatic to Moldavia. He thus folk culture. He used his knowledge of botany, for entered the Museum’s service with the preparedness instance, but only to write a study on the plant of a man with personal experience of Hungary and dyes employed in folk art. His impressive back- the day-to-day lives and artifacts of its people—not ground in history he put to use to draw ethno- just Hungarians, but also Romanians, Slovaks, graphic maps of fifteenth-century Transylvanian Ruthenes, Croats, and Germans. He was, further- counties, analyze seventeenth-century censuses, more, familiar with the primary sources, thanks to and expound on the cultural history of the eigh- his years of training in Kolozsvár at the teenth century. Even the archaeological digs on Transylvanian Museum. (To make the most of its medieval sites that he initiated, and his inaugura- splendid collection of primary sources on social tion of a project aimed at the systematic collection and cultural history, the museum employed univer- of proper names and place names was meant to sity students, among others, to transcribe these profit ethnography, his all-consuming passion. hand-written sources, and encouraged them to The breadth of his vision is well attested by one annotate and edit for publication the material they of the first articles he ever wrote, “Alakítsunk had worked on.) Motivated by his keen boyhood Nagykun Múzeumot” (Let’s establish a Greater interest in the Cumans, Györffy had also learned Cumania museum). Published in 1906, the article Turkish, and had spent time studying in Istanbul makes clear that then already, there was before during his university years. Györffy’s mind’s eye the museum that would sub- Little wonder, thus, that Györffy did not confine sequently bear his name: a museum that would himself to some one area of the embryonic field of conduct the visitor, from its beginnings in paleo- Hungarian ethnography, but took a complex geography and archaeology, through a collection of approach to the study of Hungarian folk society. In historical relics and documentary sources, to the this respect, too, he had much in common with the world of ethnography, and the pressing social issues pioneers of Hungarian ethnography, Otto of the times. Herman, János Jankó, and Zsigmond Bátky, poly- For nearly thirty years, Györffy was an employee histors one and all. Otto Herman (1835-1914) did of the Hungarian Museum of Ethnography. These major research in entomology, ornithology and were the most productive years of his life. He trav-

20 For place names and regions, see the maps and the Gazetteer István Györffy, a Pioneer of Hungarian Ethnography

eled the country’s various regions collecting arti- of unfenced houses where the women, the children, facts and making photographs, and thoroughly and the elderly lived; ringing this inner circle was researched the past and present of several of the assortment of ólaskertek7 where the men kept Hungary’s distinct cultural groups: the people of the the animals, and the fodder. Györffy recognized, Nagykunság, the Magyars of the Fekete-Körös furthermore, that the tanya was genetically related völgy adjoining Transylvania; the hajdús1 (Haiduks) to the ólaskert, for when the common that ringed and the Matyós2, giving due attention also to the the settlement was parceled out in the course of the history of the region that each of these various nineteenth century, the ólaskertek were moved out groups called home. (The Hungarians of the Feke- to the newly-parceled lands to form tanyas, and te-Körös völgy and the Matyós he examined also for houses were raised on the site of the old ólaskertek to the impact that they had on the settlement structure accommodate the growing population. of their particular county: the former on southern Investigating the production methods employed Bihar, the latter on southern Borsod.) His beauti- in the two types of Hungarian farmstead, Györffy fully-written Nagykunsági krónika (A Chronicle of noted that there were two different methods of Greater Cumania) quotes verbatim from eigh- threshing the harvested grain. In the drier wheat- teenth-century depositions to illustrate the kinds of growing regions of the Carpathian Basin, the har- livelihood that the environment had once allotted vested grain was stacked on a prepared “corn floor” the inhabitants of the swamp-studded plains: tradi- (szérû) in the ólaskert, and the grain was separated tional lifestyles like szilaj pásztorkodás3 and pákász- from the ear of wheat by “treading” (nyomtatás), kodás4, both of which disappeared once and for all i.e., having the horses walk around and trample on when the marshlands were drained for agriculture the stacked sheaves of wheat. The grain was then in the course of the nineteenth century. stored right there in pits dug expressly for the pur- History played the lead in Györffy’s reconstruc- pose. In the rainier highland regions, where the tion of how the hajdús, that caste of soldiering main grain crop tended to be rye, the harvest was freemen, were settled in the early seventeenth centu- stacked in sheaves in barns built at the bottom of ry in the Tiszántúl, a region laid waste by the the housing property, and was thrashed by hand Ottoman Turks. Besides doing research on the with flails as needed. The grain, too, was stored in hajdús’ origins, he used eighteenth-century maps the barn. The two technologies had, of course, and charters to identify the settlement structure of been mentioned in the literature on agriculture their market towns. This was when he discovered the written in the first half of the nineteenth century, kertes város5 as a unique settlement type, and identi- but it was Györffy who pointed out their distin- fied the dual economic system associated with it. guishing features, and drew their correlation to the Györffy had always been interested in the ques- different settlement types. tion of settlement types. “A nagykun tanya6” (The Györffy’s portrait of the archaic economy and farmsteads of Greater Cumania) had been the sub- settlement structure of the Great Plain is no less ject of his doctoral dissertation. There already he brilliant for his—mistaken, as it turned out— did more than just characterize this particular type assumption that the origins of the kertes város were of isolated rural habitat: he also described how to be sought in the szállás8 of the semi-nomadic people lived there, and what economic ties they Magyars of the tenth century. It was an assumption had to the nearby villages. It was in the course of that seemed reasonable as late as the 1950s; histor- doing research on the kertes város that he realized ical and geographical research and the archaeologi- that in the Great Plain, this was a prevalent settle- cal findings of the last few decades, however, have ment type. The core of the settlement, in these failed to substantiate it. Györffy himself, in his “Az communities, was the relatively densely-packed set ôsi magyar földmûvelés” (The archaic agriculture

For place names and regions, see the maps and the Gazetteer 21 György Györffy

of the Hungarians), a study written in 1935, that was published in a richly illustrated volume by emphasized that the nomadic features of the farm- Edit Fél, a student of his, in 1956. ing done on the Great Plain developed in the wake More significant yet than his articles on peasant of the Ottoman occupation (1526-1697), when wear was the work he did on embroidered folk the survivors of, say, a dozen or so settlements motifs. In 1930, he published a major monograph would seek refuge in some privileged market town, on the cifraszûr, the sumptuously embroidered but would continue to graze what was left of their frieze overcoat worn by peasant men in the nine- flocks and herds in the remote pastures of their teenth century. The volume, rich in colored illus- home villages. At the same time, Györffy’s account trations, sketches the genesis of this historic piece of the semi-nomadic lifestyle of the tenth-century of clothing, and traces its growing popularity, vari- Magyars and his postulate of their permanent win- ations, and demise, a process he personally wit- ter szállás has been confirmed by the work done by nessed in his childhood. He was also planning to István Szabó (d. 1969), while I myself have found write a book on the motifs furriers embroidered on Eastern analogies and concrete evidence to support sheepskin coats and vests, but only three articles of his views on the Magyars’ winter and summer szál- his actually appeared on the subject. In 1928, he lás, and the rotation practiced by their headmen. and two of his colleagues from the museum, Györffy’s work in “settlement studies” is best Zsigmond Bátky and Károly Viski, used the occa- described in terms of a camera mounted on an air- sion of the ethnographic congress held in Prague to plane. His viewfinder would bring an entire part of publish L’art populaire hongrois, a illustrated album the country into focus when he looked for migra- introducing the reader not just to embroidery tion patterns or wanted to portray a particular motifs, but also to numerous other branches of region’s settlement history. When it came to depict- Hungarian folk art. ing the form of a given settlement and the eco- In the 1930s, Hungary’s leading interwar ethno- nomic activities on its rural outskirts, he took a graphers published A magyarság néprajza (The bird’s-eye-view. Then, swooping down, he would ethnography of the Hungarians), a four-volume get a close shot of the shape of a particular proper- handbook. Györffy’s contribution was the “Viselet” ty, and the house and farm buildings on it; and (Peasant wear) chapter in Volume I, and the finally, he would zoom in on the house itself, and “Gazdálkodás” (Husbandry) chapter in Volume II get pictures of the interior and the daily lives of its where, taking a broad view of his subject, he residents. With this technique, he as able to present included everything that was known about every pictures of the settlement and building types of the facet of the gathering, fishing, hunting, animal Nagykunság and the Fekete-Körös völgy, for husbandry and agriculture ever practiced in instance, in detail more graphic and more vivid Hungary. At the time of their publication, the four than any of his predecessors. volumes—which were clearly written, well illus- Peasant wear was Györffy’s other great area of trated and amply documented—had no peer in research, with special reference to embroidered folk international ethnography. motifs. A study of his, “A régi magyar népviselet” Györffy published not only in professional jour- (Old Hungarian peasant wear), appeared in 1909 nals, but was an excellent popularizer of his subject already, and when he died thirty years later, he was as well. In the 1920s already, he published several planning to write a monograph which would deal short essays on particular aspects of Hungarian folk with the peasant wear of every one of Hungary’s culture, specific ethnic groups (the Gypsies, for ethnic groups. He left behind detailed notes on instance), and various cultural phenomena (e.g. “the Matyó”, the most lavishly embroidered of all “witches” and táltosok9). During the First World Hungarian peasant wear. It was this manuscript War, articles of his on the geography, history and

22 For place names and regions, see the maps and the Gazetteer István Györffy, a Pioneer of Hungarian Ethnography

With Turkish friends in Constantinople; István Györffy is on the extreme left. ethnography of the regions of Eastern Europe Gunda and László K. Kovács) decided to make a affected by the war appeared in the popular press. career of ethnography. When, in 1934, the Pázmány In 1918, he was the Turkish-speaking ethnograph- Péter University established a department of ethnog- er in Jenô Lénárd’s expedition to Asia Minor, raphy, Györffy was invited to head it. Ethnographers Turkey’s suing for peace was what obliged the and folklorists of the stature of István Tálasi, Mihály group to return home earlier than planned. Márkus and Lajos Vargyas were among his first grad- At the time that Györffy embarked on his career, uates. As a professor, Györffy was never one to impro- ethnography was not one of the subjects taught at vise: he wrote all his lectures with the same care as he Hungarian universities. Count Kunó Klebersberg, the wrote his studies, and read them to his students. He Minister of Culture, was the first to recognize this was at his most inspiring not so much at his formal shortcoming, and Count Pál Teleki, professor of com- lectures, as in the more relaxed atmosphere of semi- mercial geography at the University of Economics, nars and one-on-one tutorials, and on the field trips was the first to fill this hiatus in 1926 by attaching he and his students made to gather material through- Györffy, his old friend and colleague, to his depart- out the countryside. ment, and asking him to lecture on the ethnography The 1930s in Hungary were the time of the of South-Eastern Europe, and then Hungary. Inspired falukutató mozgalom (“come-to-understand-the-vil- by Györffy, several would-be economists (e.g. Béla lage” movement), whose purpose was to get a clear

For place names and regions, see the maps and the Gazetteer 23 György Györffy

picture of the circumstances in which the peasantry up not much later, it was named in his honor. In lived. Young writers and sociologists would spend 1945, the college took a more progressive turn, and months in a particular region, where the predomi- was able to set up several affiliates; it was closed nance of the great estates left the agricultural wage down in the wave of repression that started to peak laborers no hope of ever farming land of their own. in 1950. Everything they saw led them to draw but one Györffy’s personal magnetism was what made him political conclusion: land reform! Initially, the con- so effective as a scholar and educator. A heavy-set, servative government would hear nothing of this, bald man with a Roman nose, he had such an air of but when Count Pál Teleki became minister of edu- calm dignity that some of his students spoke of him cation (1938), he, Györffy, and Professor Zoltán as the “Cuman god” enthroned motionless in his Magyari set up the Táj és Népkutató Központ “thinking chair”. Behind the gravity of his demeanor, (Center for Regional and Ethnographic Research) however, there was such a genuinely warm interest in whose real purpose was to conduct in-depth studies the thoughts and lives of his students, colleagues, and of the economic and social conditions of each par- ethnographic “subjects” that right from his own stu- ticular locality with a view to determining the nec- dent years, he was able to persuade people of all walks essary degree of land reform. Though the first “get- of life (teachers, painters, sculptors, actors, physi- acquainted” exhibition held by the Táj és Népku- cians, engineers, economists, lawyers, and even facto- tató Központ in 1938 was closed under pressure ry workers, peasants and landowners) to take an from the ultra-conservatives, its research projects active interest in ethnography. did get under way at Györffy’s department of He was still in high school when he talked his ethnography, and in the field. Györffy himself took young fellow townsman, Gyula Németh into personal charge of these projects, and at the same switching from classical philology to Turkic studies, time, embarked on a campaign of “educating the and gave his own Turkish grammar book to the boy nation” in the popular press. who would grow into a world-famous Orientalist. As Györffy saw it, there was too great a rift During his university years, it was Lajos Kiss, who between the “masses” and their “betters” in Hun- was planning to be an actor, whom he seduced into garian society. What was needed was rapproche- studying ethnography instead, and thus won the ment at every level of social and cultural exchange, discipline one of its most outstanding literary men. and it was up to the country’s leaders and intellec- Károly Viski was a language teacher when he urged tuals to take the first step. The sense of urgency in him to undertake the study of Hungarian dialects; Györffy’s call for this social renaissance was fuelled later, he got him a job at the Hungarian Museum of by his fear of German political expansion, and his Ethnography, as indeed he talked the biology concern that the Nazi’s racist doctrines would serve teacher Sándor (Ébner) Gönyei into joining the to further divide the nation. In the summer of Museum’s team. It was during the years that he 1939, he published his program in his A néphagyo- taught at the two universities, however, that he mány és a nemzeti mûvelôdés (Folk tradition and made the most converts to his beloved discipline. national culture), but the ideas expressed therein More persuasive than his lectures were the objects were soon rendered obsolete by the outbreak of he would show the students who visited his office at Second World War (to say nothing of its aftermath). the Hungarian Museum of Ethnography, and the A month later, on October 3, 1939, István Györffy simple folk he would introduce them to on the field died of a stroke. News of his death reached his col- trips he organized. leagues just as they gathered to work out the details Györffy had no use for the romanticism of the of a college meant to facilitate the university educa- “pseudo-folk”—whether music, dance, or any other tion of poor peasant lads. When the college was set art form. He did not like the popular Gypsy music

24 For place names and regions, see the maps and the Gazetteer István Györffy, a Pioneer of Hungarian Ethnography

that passed for folk music, and encouraged the col- when he worked, and then checked his conclusions lection of archaic folk songs instead. When, on a against the scholarly literature. trip to the region of the Ipoly river, he learned that The other area in which he is unrivaled is his the swineherds were preparing for a bagpiper con- style as a writer. He is always lucid, to the point, test, he sent a telegram to Béla Bartók to come and and a sheer delight to read. As a man of letters, he record the tunes. He kept an eye on the folk dance has had few followers among ethnographers; per- groups springing up at the time, lest the choreogra- haps the most successful in this respect was Sándor phy introduce elements foreign to the Magyar Szûcs (d. 1982), the director of the Györffy István dance culture. Museum in Karcag, whose research interests and Where he was most effective, however, was in fos- methodology likewise recalled Györffy’s. tering the use of authentic folk motifs in the decora- Nor can the new generation taught by Györffy’s tive arts. He was anxious to see the pseudo-folk pat- erstwhile students be expected to emulate the mas- terns decorating so many of the cheap trinkets for ter’s work methods. Folk culture has given way to sale at the country fairs replaced by the incredibly modern civilization; the old customs and ways of varied treasury of authentic folk motifs. And his doing things have disappeared; the old objects have determination was rewarded with no small success: found their way into museums. Today, one needs to thanks to his richly illustrated publications and arti- read the professional literature, go to data banks, cles in popular magazines, authentic folk embroidery and look at old photographs. For all that, Györffy’s and ceramics soon supplanted the vulgar, rootless, methodology—going to the source and making invented patterns and shapes. It is typical of Györffy’s modus operandi that when Sándor Kántor, an indus- trious and talented potter from his own home town, started making cheap fair novelties and Balkan-style jugs, he lent him some original pieces of folk pottery—plates and tankards, and his own “Miska jug”—to serve him as models. Kántor became a world-class ceramicist, with many emulators. Györffy’s approach and scholarship laid the foundation of an entire school. There would be many who would follow him in his choice of subject matter, but few would adopt his methods. Györffy was always up on the literature, but never took what others wrote as his point of departure; he always went to the source. He would handle objects, listen to his informants, examine old maps, and read the records to see whether they might all fit together, and whether they allowed one to deduce cause from effect, and postulate how all formed part of larger system. Therein lies his originality. Some philolo- gists have tried to trace Györffy’s creative conclusions to some Western school of thought or to the influence of certain Hungarian writers, but to do so is nothing but a case of mistaken, post facto ration- alization. In reality, Györffy set the literature aside István Györffy in May of 1935.

For place names and regions, see the maps and the Gazetteer 25 György Györffy

photographs—is an example that even today’s direct impact on Ferenc Farkas, his future son-in- ethnographers can follow, to say nothing of his style law, a publisher of bibliophile books who became of writing, which eschews every foreign word that the chief publisher of the populist writers, and one has a Hungarian equivalent, as well as the obfusca- of the founders of the Nemzeti Parasztpárt tion of professional jargon. (National Peasant Party). It might be of interest, at this point, to note what I myself, Györffy’s third child, likewise failed to intellectual impact he had on his immediate family. choose ethnography as a career. The mass of folk Györffy’s wife came from Transylvania, and was a motifs which inundated our childhood scared me model wife and mother, who attached more impor- away, rather than attracting me. On the other hand, tance to the rearing and education of her three chil- I was fascinated by maps and geography from the dren than to her husband’s work. For all that, she age of ten, much to my father’s delight, and was tak- made it possible for him to devote all his time and ing photographs of peasant houses for him when I energy to his professional interests. István Györffy was thirteen, and pictures of horses treading grain did not pay much attention to his children’s in Bulgaria. When a nervous breakdown prevented upbringing, nor did they have many moments of him from writing his lectures for months on end, I intimacy with him. It is still not clear whether it was translated for him chapters from a German text- this, or the usual generation gap which made them book to read to his students. At the university, I first frustrate his great desire to see them become ethno- focused on history and Oriental studies, and then graphers. His son István was the one he would have found myself drawn more and more to one of my really liked to see follow in his footsteps, but István father’s favorite research areas, settlement history. was more interested in the metropolis than the He lived long enough for me to be able to be a part- tanya, and keener to listen to Louis Armstrong than ner to him in long discussions on the Magyar- Zoltán Kodály. He became an eye specialist and an Cuman relationship from the historical, ethno- inventor, one of the people who developed the con- graphic, archaeological, biological and linguistic tact lens. It was only after his father’s death that he points of view, and it was as colleagues that we eval- took to collecting folk art, by way of augmenting the uated the professional merits of the work being small ethnographic collection that he inherited. His done on this subject. He left all his manuscripts and daughter Anna became a well-known graphic artist; papers to me, and scholarly and as well as filial con- to please her beloved father, she would undertake to siderations impelled me to prepare them for publi- produce illustrations of peasant wear from time to cation. I am now collecting material—documents time, but her heart was in textile and fashion design, and recollections—relevant to my father’s life and and later, the illustration of children’s books. career, and hope, at some future time, to write his Of the immediate family, Györffy had the most detailed biography.

SELECT BIBLIOGRAPHY OF ISTVÁN GYÖRFFY’S WORKS*

—. 1909. “Néhány adat a régi magyar népviselet ismeretéhez” GYÖRFFY István 1906. “Alakítsunk Nagykun Múzeumot!” [Let’s [Some data on old Hungarian peasant wear]. Néprajzi Értesítô 10. establish a Nagykunság Museum]. Nagykunsági Hírlap 3-4: 178-179. November 17. 2-3. —. 1913. “A feketekörös-völgyi magyarság (Településföldrajzi —. 1908-09. “A Nagykunság és környékének népies építkezése” tanulmány)” [The Hungarians of the Fekete-Körös völgy (A set- [The folk architecture of Nagykunság and its environs]. 1-4. tlement study)]. Földrajzi Közlemények 41. 10: 451-552. Néprajzi Értesítô Vol. 9. Nos. 1-2: 1-18. Nos. 3-4: 153-166. Vol. —. 1922. Nagykunsági krónika [A chronicle of Nagykunság]. 10. No. 1: 30-40. No. 2: 65-78. Karcag: Nagy-Kertész Nyomda.

26 For place names and regions, see the maps and the Gazetteer István Györffy, a Pioneer of Hungarian Ethnography

GYÖRFFY István 1924. Jászsági szûcshímzések. [Furriers’ embroi- feudal armies. As more and more of Hungary fell under Ottoman dery motifs from the Jászság]. Magyar népmûvészet 10. Budapest. occupation, and people lost their homes and livelihoods, the hajdús —. 1926. “Az alföldi kertes városok. Hajdúszoboszló települése” served as mercenaries to whoever would pay them: kings, princes of [The kertes város of the Great Plain. The settlement of Transylvania, or aristocrats, and were just as indiscriminate in despoil- Hajdúszoboszló]. Néprajzi Értesítô 18. 3: 103-036. ing the population. They elected their own officers, and, by the end —. 1927. “A hajdúk eredete” [The origins of the Haiduks]. of the Long War (1593-1606), were functioning as a regular army. Protestáns Szemle March. 133-141. April. 220-229. István Bocskai, Prince of Transylvania (1604-1606) made use of their —. 1928. “A magyar szûcshímzések” [Hungarian furriers’ embroi- services, and then settled the hajdús (over 9,000 of them) on his own dery motifs]. Mûgyûjtô January. 9-11. lands. They contracted to fight for him in time of war, and in return, —. 1928. L’art populaire hongrois (Edited by István Györffy, enjoyed a “collective nobility”, i.e., exemption from all feudal dues Károly Viski and Zsigmond Bátky). Budapest: Musée National and services. The hajdú settlements extended in a semi-circle from Hongrois. southern Bihar to the mouth of the Sajó and Hernád rivers; there —. 1928. “Takarás és nyomtatás az Alföldön” [Harvesting and were also certain hajdú-type settlements in the Transdanubia and treading in the Great Plain]. Néprajzi Értesítô 20. 1: 1-46. Transylvania. In the seventeenth century, the hajdús liberties were —. 1929. “A matyók” [The Matyós]. Népünk és Nyelvünk April- not officially recognized either by the Hungarian Diet or the June. 137-160. Habsburg government, but were respected in practice until the first —. 1930. A cifraszûr [The fancy frieze-coat]. Magyar népi decade of the eighteenth century, when the hajdús were reduced to hímzések. [Hungarian folk embroidery]. Budapest. serfdom in the wake of the crushing defeat suffered by Francis —. 1933. (With Zsigmond Bátky and Károly Viski). A magyarság Rákóczi II , whom they had supported against the Habsburgs. Many néprajza 1 [The ethnography of the Hungarians 1]. Budapest: hajdú communities, however, would not give up, and continued, for Királyi Magyar Egyetemi Nyomda. generations, to petition the courts for the recognition of their old lib- —. 1933. “Viselet” [Peasant wear]. In A magyarság néprajza 1 erties. Some of the “old hajdú towns” founded by Bocskai’s troops [The ethnography of the Hungarians 1]. Written by Zsigmond finally won back their right to self-government, and, in 1790, were Bátky, István Györffy and Károly Viski. Budapest: Királyi Magyar recognized as the “Hajdúkerület”, an autonomous administrative Egyetemi Nyomda. 381-435. unit independent of the county system. —. 1934. A magyarság néprajza 2 [The ethnography of the Hungarians 2]. Written by István Györffy and Károly Viski. 2 Matyós: the inhabitants of three neighboring settlements— Budapest: Királyi Magyar Egyetemi Nyomda. Mezôkövesd, Tard and Szentistván—in the western half of Borsod —. 1934. “Gazdálkodás” [Husbandry]. In A magyarság néprajza County. Though Mezôkövesd was a town already in medieval times 2 [The ethnography of the Hungarians 2]. Written by István (Tard and Szentistván were settled somewhat later), the Matyós—an Györffy and Károly Viski. Budapest: Királyi Magyar Egyetemi island of Roman Catholics among largely Calvinist neighboring Nyomda. 15-273. communities—evolved into a distinctive ethnographic group only in —. 1935. “Az ôsi magyar földmûvelés” [The archaic agriculture of the course of the eighteenth and nineteenth centuries. Matyó the Hungarians]. Búvár 1. July. 467-470. embroidery and the celebrated Matyó peasant wear is a new devel- —. 1937. “A magyar tanya 1. A tanya erdete és kialakulása” [The opment dating to the second half of the nineteenth century. Hungarian farmstead. Its origins and evolution]. Földrajzi Közle- mények 65. 4-5: 70-93. 3 Szilaj pásztorkodás: an extensive form of semi-nomadic animal —. 1939. A néphagyomány és nemzeti mûvelôdés [Folk tradition husbandry involving the seasonal migration of livestock kept out- and national culture]. A magyar táj és népismeret könyvtára 1. doors year round, and tended by unattached, unmarried, homeless Budapest: Egyetemi Néprajzi Intézet. herdsmen. —. 1956. Matyó népviselet [Matyó peasant wear]. Edited by Edit Fél. Budapest: Képzômûvészeti Alap. 4 Pákászkodás: making a living off the fens by fishing, trapping amphibious rodents and waterfowl, and gathering (medicinal) plants, eggs and feathers; pákász families lived in the marshes in huts raised of mud and rushes, and regularly moved “house” to wherever the NOTES fishing and gathering was good.

5 Kertes város: a largely obsolete form of settlement in which the * For a full annotated bibliography of István Györffy’s works, see housing plots are located in an area quite separate from the plots on RÉKASY Ildikó 1977. Györffy István munkássága. Bibliográfia which the farm buildings stand. The houses were grouped on small [István Györffy’s Works. A Bibliogrpahy]. Szolnok. Verseghy Ferenc plots in the middle of the village or town, with at most a chicken Megyei Könyvtár. 1 coop or pigsty next to the house. The farms and farm buildings— In the early sixteenth century yet, hajdú meant “cowherd”. complexes called kert, szálláskert, akól, ólaskert, majorkert, istálló- Armed hajdús protected the livestock exported to the urban markets kert, or szérûskert—were on strips of land surrounding the settle- of Austria, Bavaria and Northern Italy from marauding Turks and ment, or farther off, when necessary for reasons of topography.

For place names and regions, see the maps and the Gazetteer 27 György Györffy

6 Tanya: isolated farmsteads, lived-in and worked full-time, and szérûskert in the Great Plain used at harvest time, and a solitary rural consisting, as a rule, of a house and several farm buildings, scattered tanya used from time to time were all called szállás. at some distance from one another in the environs of villages and towns in the Great Plain. 9 Táltos: a (male) person with supernatural powers, predestined by the spirits to be a táltos, as shown by his being born with a táltos 7 Ólaskert: see note 5. tooth, or more than ten fingers. He could foretell the future, saw the hidden treasure underground, could bring on storms and make them 8 Szállás: originally, the shifting habitat of small groups (extended pass, and was invulnerable to bullets. His most characteristic activity: families) of nomadic pastoral farmers, the essence being movement fighting another táltos (both having taken on the form of a flaming due to the needs of their livestock. In more recent centuries, it came wheel, a brightly colored flame or some animal) in order to bring on to mean any sort of farmland and farm buildings used by agricultur- a turn in the weather (for the better or the worse). The táltos is a typal or pastoral families, the criterion being that certain members of the ically Hungarian concept, a remnant of the pagan Magyars’ archaic family live and work there seasonally. A szálláskert located at the edge shamanic religion. of town, forest or field buildings where the livestock was wintered, a

György Györffy [1917- ], member of the Hungarian Academy of Sciences, historian, István Györffy’s younger son. After 1945, established the Institute for Ethnic Research as an offshoot of the Center for Regional and Ethnographic Research; the new institute undertook the complex study of the neighboring peoples of the Carpathian Basin. After it was closed in 1949, György Györffy became senior researcher at the Institute for History of the Hungarian Academy of Sciences. He retired in 1988, and has been working as consultant to the institute ever since. Main areas of research fellow: Hungarian prehistory, medieval historical geography, ninth to fourteenth-century Hungarian and Central European history. Vice-president of the Commission Internationale Diplomatique. Major works: Besenyôk és magyarok [Pechenegs and Magyars]. Budapest. 1940; Krónikáink és a magyar ôstörténet [The chronicles and Hungarian prehistory]. Budapest. 1948; Tanulmányok a magyar állam eredetérôl [Studies on the origins of the Hungarian state]. Budapest. 1959; Az Árpád-kori Magyarország történeti földrajza [The historical geography of Hungary in the age of the Árpád Dynasty]. Budapest. 1963-1966; István király és mûve [King Stephen I and his achieve- ment]. Budapest. 1977. Source publications: Diplomata Hungariae antiquissima I. 1000-1131. Budapest. 1992; Chartae antiquissimae Hungariae.

28 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

The Táncház Movement BÉLA HALMOS (Budapest)

In Hungary, the latest wave of “folklorism”1 began Of the features distinguishing the “modern” with the folk revival of the early 1970s. It was a táncház, the following are the most essential: period of intense interest in every kind of folk art. 1. The táncház is not a production, but a form of The most novel and most original aspect of this recreation in which folk music and folk dance focus on folk culture was the birth of the táncház appear in their original forms and functions as the movement. Though beset by professional problems “native language”—musical language and body lan- and political obstacles, the movement has grown guage—of those taking part. steadily in the past twenty-five years, spread beyond 2. The folk music played and the folk dances the country’s borders, and acquired an internation- danced at a táncház have not been passed down al dimension. The success of the táncház movement from one generation to the next in the traditional in Hungary and abroad owes a great deal to the liv- way, but have been incorporated into the táncház ing traditions of Hungarian folk music and folk repertoire as a consequence of considered value dance (particularly in Transylvania [Erdély]), the judgements based on the comparative study of the highly-developed state of these forms of art, and the traditional material. fact that both folk music and folk dance have been 3. The táncház movement is a loosely-knit associ- researched in detail, and are being taught in an ation of informal “communities” whose members organized fashion using techniques based on these (rather than being passive consumers of the artificial research findings. But the real secret of the move- products of the music industry) play an active role ment’s success is a functional approach, which aims in their own entertainment, and do some hard work to make the whole complex of folk traditions a part in the process, for it takes years of effort and prac- of everyday life. tice for dancing and music making to become pure The táncház, thus—expressive as it is of “the nat- pleasure—though there is joy enough in the first ural”, an outlook on life that modern man can ill dance steps mastered and the first tune learned. afford to be without—has come to serve as an 4. From the very beginning, the táncház move- example the world over of how to salvage for future ment has treated the folk cultures of Hungary’s generations the viable elements of our disappear- non-Magyar ethnic groups, and indeed, of every ing—or worse yet, transmogrified—traditional cul- nation, as treasures of coequal value (and, in this tures. In this sense (and this is not a hypothesis, but sense, followed a principle and a practice which a conclusion based on over two decades of táncház anticipated the “Common European House” idea operations in Hungary and abroad) the táncház by some twenty years). movement can help ease the palpable tension To date, there has been no comprehensive study between the various national traditions and the new offering a complex analysis of the history of the world culture now in the making, and help forge a táncház movement from the moment of its incep- network of communication between them. tion. From the very outset, however, journal arti-

For place names and regions, see the maps and the Gazetteer 29 Béla Halmos

cles, reports, and interviews have documented (ház)—where the dancing (tánc) takes place; on the events in the life of the movement, and/or other, it means an occasion, the opportunity to addressed some of the issues raised by its existence dance. The place was either a space within a build- (this published material in its entirety is to be ing or an outdoor area: the inn and its courtyard, found only in private collections). The táncház according to Hungarian peasant tradition. The movement has also been the subject of several exception was Transylvania, where the young people books and studies.2 met to dance at some villager’s house, and called it the táncház. In the winter, they danced in one of the rooms of the house; in the summer, in the csûr (a The Táncház Movement: shed with a roof and open sides, standing in the Past and Present courtyard of peasant houses, and used to store tools and crops). The Archetype In Transylvania, as elsewhere, the peasant way of The word táncház has always had a twofold mean- life provided many occasions for dancing, but the ing: on the one hand, it means the place—the house táncház was reserved exclusively for single young

Tivadar Kovács, Romanian first fiddler (cigányprímás) of István Ádám, “Icsán”, prímás of Szék (Sic, Romania), Méhkerék (Békés County, Eastern Hungary) playing in Szeged in Béla Halmos’s “musical father”, in 1974. He was the first Tran- 1973. He was the first folk fiddler that Béla Halmos studied with. sylvanian fiddler to teach Béla Halmos. Photo: Táncház Photo: György Hidas, Táncház Foundation. Foundation.

30 For place names and regions, see the maps and the Gazetteer The Táncház Movement

Like the other branches of folk culture, the music played and the dances danced were passed on in the traditional way from one generation to the next. The dancers were still children when they began learning the local dances, songs and customs from one another, their parents, and their fellow villagers. There were regular “tiny ones’ dances”, where small children were taught how to dance. There was no dance teaching at the táncház, which was meant to be nothing but fun. The musicians providing the music had learned to play in much the same way as the dancers had learned to dance. But playing, for them, was work, and they were paid by the dancers accordingly (although music making was not considered to be a “job”). Zoltán Kallós (right), ethnomusicologist of Kolozsvár (Cluj- In any given village, only the local dances were Napoca, Romania) and Márton Maneszes “Kántor” (left), prímás of Mezôség in Magyarszovát (Suatu, Romania) in 1994. Photo: Béla danced. In villages of mixed ethnicity, people would Halmos, Táncház Foundation. learn the dances of every ethnic group, and dance every one of them in turn at village events attended men and women. A married man who wanted to by all; at their own táncház, however, each ethnic dance had to wait for a holiday, a wedding or a ball; group would dance only their own dances. Most of for him, the táncház was off limits. the musicians would play not just in their own In the traditional táncház, the music was usually community, but in neighboring villages as well. In provided by semi-professional Gypsy musicians (making music was not their only means of livelihood). From time to time, one would come across a Hungarian táncház band. For generations, the táncház was the only form of recreation available to young peasant men and women in Transylvania. The operation of the táncház was regulated by customary law. The youth of the village, or a certain group of village youths, themselves elected their leaders, called the “under- writers”. It was they who chose the house to rent as the village táncház, engaged the musicians, admin- istered the finances, and made sure that there was no rowdiness, etc., at the dances. Their agreement with the owner of the house and the musicians was verbal, and for a specified period of time. The musicians were generally engaged for ten Sundays at a stretch; the house was rented for a year or longer. The young people who frequented the táncház all contributed to paying the rent and the musicians in Dancers from Szék (Sic, Romania) at the Kassák Club in Budapest cash, labor, or produce. in the late 1970s. Photo: Táncház Foundation.

For place names and regions, see the maps and the Gazetteer 31 Béla Halmos

The Bartók Dance Ensemble performing at the Zalaegerszeg Folk Dance Festival (Zala County, Southwestern Hungary), in 1972. They are dancing to “Meg kell a búzának érni...” [“The wheat can’t help but ripen…”], as choreographed by Sándor Tímár. Photo: György Hidas, Táncház Foundation. 32 The Táncház Movement

ethnically mixed areas, they know the music of every ethnic group. In Transylvania, it is not unusual to find “polyglot” bands, who play for Hungarians, Romanians and Gypsies equally, and equally well. Comparing the “know-how” and practices of village dancers and village musicians, we can draw the following conclusions: while the dancers know only the local dances, the musicians are at home in several musical styles, and play the music of several villages and ethnic groups. In any particular táncház, however, they will be expected to play only the music that goes The musicians who played for the Bartók Dance Ensemble (from left to right: Ferenc Sebô, Béla Virágvölgyi, Béla Halmos and Márta with the local dances. Virágvölgyi), in Szeged, in 1974, at the International Trade Union In Hungary, the dissolution of the traditional Folk Dance Festival with members of the Méhkerék (Békés County, peasant way of life was essentially a fait accompli by Southeastern Hungary) Romanian Gyspy Band. Photo: Táncház the late 1960s. In Transylvania, on the other hand, Foundation. this process was delayed until the 1970s, when, tion of dancing and music to fall back on; they have however, it speeded up with a vengeance. The grad- to learn everything from scratch. The táncház is fun ual repression of the táncház in Transylvania—its only for those who have already learned to dance and practical disappearance in certain places—coincid- sing. Teaching, therefore, is part of what the táncház ed with the táncház revival in Hungary. There was, movement is about. Instructions in dancing are given in short, a point in time when the táncház as folk separately from lessons in the various musical instru- culture converged with the táncház movement as a ments, with the best dancers and musicians acting as part of the folk-cultural revival: skills and knowl- instructors. Dancing is taught in the táncház. The edge were passed on in this encounter, and seminal instructors—generally a man and a woman togeth- personal ties were forged. er—give dancing lessons at the beginning of the táncház, and continue to instruct the beginners at the back of the hall the entire time during the dance The Táncház of the Táncház Movement Much as the essence of the archetypal táncház— dancing folk dances to folk music as a form of recreation—remained unchanged when the institution was revived by the táncház movement, there are significant differences between them. The most salient difference is that in the táncház movement, the táncház functions as a form of recreation not for some homogeneous Transylvanian village community, but for the very heterogeneous urban populations of Hungary’s towns and cities. This is the reason why we include the táncház movement under the heading of “folklorism”, and this is what explains all the other The Sebô Band (Ferenc Sebô, left and Béla Halmos, right) in con- differences between the two kinds of táncház. Those cert at the Municipal Cultural Center in Budapest in 1974. Photo: frequenting an urban táncház have no family tradi- Táncház Foundation.

For place names and regions, see the maps and the Gazetteer 33 Béla Halmos

“Széki táncok” (Dances from Szék) choreographed by Sándor Timár and performed by the Bartók Dance Ensemble at the Szolnok Folk Dance Festival in 1973. Photo: György Hidas, Táncház Foundation. proper. Like in Transylvania, there is a special táncház Transylvanian villages. In the last ten years or so, the for children—between the ages of 3 and 10—gener- teaching of folk singing and instrumental folk ally before the adults’ táncház begins. The average age music has become a part of the curriculum of a of those frequenting the táncház in Hungary today number of schools of music, and special adult work- happens to be the same as of those attending the tra- shops are now also being taught. ditional Transylvanian táncház, but within the move- The táncház is generally managed by the members ment, there is no age or marital-status restriction on of the orchestra and the dancing instructors. They are attendance. The táncház movement welcomes any- the ones who sign the written contracts with the state- one interested in folk music and folk dancing. run cultural centers which, to this day, are likely to be But for a few exceptions, urban Gypsy musicians the location of any given táncház. The cultural center do not play in the táncház. The “táncház orchestra”, provides the dance hall, the staff (ushers, coat-check as it is called, is generally comprised of Hungarian ladies, refreshment stand operators, etc.), and pays the musicians, semi-professionals, like their Tran- musicians and the dance instructors. Those attending sylvanian counterparts. They all have some other the táncház pay an admission fee, which goes to the occupation, or are still studying. The musicians cultural center. Since the fees do not cover the expens- learn to play outside the táncház. Many of those es, the operation of practically every táncház depends playing today have never had any formal musical on state subsidies. training, but learned to play and picked up the There are two things that need to be noted. One tunes from the peasant or Gypsy musicians of the is that in the Hungarian táncház movement, it is the

34 For place names and regions, see the maps and the Gazetteer The Táncház Movement

dances, folk plays, and skits of folk customs at Budapest theaters once a year. In the latter part of the period, these troupes, organized under the auspices of the Bokréta Szövetség, would play several times a year and not only in the capital city. The impact of the Gyöngyösbokréta movement was twofold. On the one hand, it gave townspeople some first-hand experience of folk dancing and folk music. On the other hand, it awakened the peasantry to the realization of the value and importance of their own art—something which has definitely Béla Halmos with his pupils at a workshop for táncház musicians contributed to the survival of folk art. in Jászberény (Jász-Nagykun-Szolnok County, Eastern Hungary) in The second movement started in the late ’40s and 1983. Photo: Táncház Foundation. continued into the early ’50s. By this time, Hungary was a “people’s democracy”, and “the peo- “orchestra”, the musicians, who have the leading ple” were required to sing folk songs and dance folk role and the final word. Even the dance instructors dances in this dark period of the country’s history. are often selected by the musicians. The other dif- It was not so much a movement, as a terror tactic. ference as compared to the Transylvanian táncház is The result: several generations learned to abhor folk that a Hungarian táncház will play not just in one art for the rest of their lives. The decline of folk cul- particular musical idiom or the music of one partic- ture in Hungary dates to that time. ular village, but successive sets of tunes. (A “set” The third movement was the formation of ama- comprises the sum total of all the dance tunes of a teur folk dance groups: begun in the late ’50s, for all particular village or locality, with the dances suc- practical purposes, it continues to this day. Modeled ceeding each other in a definite order—a “dance on the highly successful Soviet folk ensembles suite”, so to speak.) In an urban táncház, therefore, (some of which toured the entire world), several both musicians and dancers are familiar with sever- hundred amateur folk dance groups came into al styles of folk dancing. A good táncház dancer will be comfortable with eight to ten “dance suites”, and a good táncház musician with a corresponding diversity of dance tunes.

The Antecedents of the Táncház Movement Though folk cultural revivals are not specific to this century, we shall confine our retrospective to the more significant twentieth-century movements. The first of these was the so-called Gyöngyös- bokréta movement of the period between 1931 and 1944. Coordinated by a Budapest newspaperman, Béla Paulini, the village intelligentsia organized Táncház at Székesfehérvár (Fejér County, Western Hungary) in the peasant dance troupes which performed folk late 1970s. Photo: József Princz, Táncház Foundation.

For place names and regions, see the maps and the Gazetteer 35 Béla Halmos

that a few people do for a hobby will grow into a movement only if the particular activity meets the needs and interests of the majority, and if the political and cultural constellation is propitious for its growing into a movement. The early 1970s in Hungary were such a propitious time. The most important positive developments from the point of view of the táncház movement were the following: 1. As a consequence of the revolution of 1956, the political pressure on the population began to ease up in the last years of the ’50s. The gradual liberalization was attended by a rise in the stan- János Kovács, “Janika”, violist, member of the Méhkerék (Békés dards of living. The early 1970s saw the coming of County, Southeastern Hungary) Romanian Gypsy Band with Ferenc age of the first post-1948 generation which could Sebô (left) in Szeged in 1973. Photo: Táncház Foundation. freely decide, for instance, what it wanted to sing being, and still flourish today. To the 1970s, it was and dance. these groups which kept folk dancing and folk 2. There was a gradual “thaw” in Hungary’s inter- music alive. Their operation was confined to per- national isolation; foreign relations were not as one- forming folk dances on stage, according to a learned sided as they had been. A thriving multilateral choreography. For all that, the amateur folk dance tourist trade and an ever-widening ring of cultural groups were one of the immediate antecedents, contacts meant that Hungarians came in touch with indeed the hotbed, of the táncház movement. the folk culture of Hungarians living outside the The fourth precursor—and the second immedi- country’s borders, and got news of the folk song ate antecedent of the táncház movement—was the revivals sweeping Western Europe and the United folk music revival triggered by the Röpülj Páva TV States. By the end of the ’60s, beat music, the first Talent Show that made its debut in the late 1960s. musical language understood the world over, had The approach to folk music here was the same as made its way into Hungary. It would have a definite would be formulated by the táncház movement impact on the development of the folk music move- which started in 1972: folk music (and folk culture ment and the táncház movement, in both a negative in general) was of value just as it was; there was no and a positive sense. need to “elevate it” to the realm of classical music, 3. There were some breakthroughs in Hungarian or to “elaborate” on its “themes”. It was the people folk music research, and folk dance research had who had taken part in the Röpülj Páva movement grown into an independent discipline. The new tech- who began to focus on instrumental folk music, nology (records, microphones, VCRs, etc.) modern- too, particularly the polyphonic dance music of tra- ized the recording and dissemination of folk music ditional folk dancing. They would be the ones to collected on location. By this time, folk dance and form the first táncház orchestras. instrumental folk music research were qualitatively on a par with folk song research, both as regards the volume collected, and the scholarship involved. The Social Milieu Which Shaped the 4. Most importantly, however, the folk culture of Táncház Movement Transylvania continued to thrive and flourish right into the 1970s. This extraordinary wealth of folk Whether a movement will ever be born, let alone tradition would come to form the basis of the flourish, depends on the social milieu. Something táncház movement.

36 For place names and regions, see the maps and the Gazetteer The Táncház Movement

Certain negative societal developments also elements into the school system had proved a fail- served as an impetus to the genesis of the táncház ure. With the exception of a few fanatics, everyone movement. One cardinal negative circumstance was believed that a total cultural vacuum had set in. It that by the 1970s, traditional folk art and folk cul- was at that point that the newest wave of folk art ture had all but disappeared in Hungary. This was a movements stirred up the country. natural consequence of the sham ideology and forced urbanization which had totally altered the peasantry’s way of life. The peasantry ended up The Story of the Táncház Movement, repudiating their own folk culture, and with this, and Its State Today cut short a tradition that had been handed down from generation to generation for centuries. The first táncház was organized in Budapest by Folk culture had become relegated to the status of Ferenc Novák and the Bihari Dance Ensemble on a school subject, and folk art to an artistic style. And May 6, 1972. The idea was to set up a members- by the 1970s, folklore and folk art were being only club modeled on the Transylvanian táncház, snubbed as outlandish and passé. There was a total the membership being restricted to Budapest’s four chaos as to values. best amateur folk dance ensembles. Which gave rise to yet another set of negative “Outsider” interest was strong from the very developments. Folk singing was made a compulso- beginning, but initially the organizers did not let in ry part of the school curriculum; a child would anyone who was not a member. However, in view of either learn the folk songs the same way he learned the ever-growing interest, the four founding dance algebra, or would come to hate them as something ensembles soon began wondering whether or not shoved down his throat—in neither case would he they should continue to insist on the dance club’s ever think of singing folk songs for his own pleas- members-only policy. In the end, György Martin, ure. Instrumental folk music was something that Sándor Tímár, the members of the Bartók Dance simply no one taught. Gypsy musicians had prac- Ensemble and the Sebô Band—the first táncház tically stopped playing folk songs: they played orchestra—jointly decided to open the táncház to operetta, popular songs, themes from the Hit everyone. From then on, anyone could go in and Parade, and so on. As for the classical music of the join in the dancing, because the club’s time, the best-case scenario was that folk motifs managers/organizers, in opening it up to the public, provided the composer with at least his raw mate- committed themselves to providing dance instruc- rial; in fact, however, very few of the contempo- tions as well. rary Hungarian composers paid any mind to their Beginning with the spring of 1973, the Fôvárosi musical mother tongue. Folk music in its original Mûvelôdési Ház (Municipal Cultural Center) was form was practically never played. When it came the scene of weekly táncház sessions, with dance to folk dancing, it was much the same situation, instructions being provided right there on every the difference being that you could see folk danc- occasion. The same year yet, the second táncház ing on stage; but they danced not folk dances, but orchestra, the Muzsikás Band, was formed, and a choreographed composite of various folk dance from 1974, there were two táncház events a week: steps. Far and wide, there was no original folk one run by the Sebô Band, the other by the dancing to be found. Muzsikás Band. In both places, the dance instruc- By the end of the 1960s, thus, it looked as if folk tors were Sándor Tímár and members of the Bartók art and folk culture had disappeared in Hungary. Dance Ensemble. The táncház movement was on its The peasantry had ceased to pass on its own tradi- way. Several new “orchestras” were formed (the tions, and the attempts to integrate folk cultural Virágvölgyi, the Jánosi, the Téka, etc.), and new

For place names and regions, see the maps and the Gazetteer 37 Béla Halmos

Sándor Tímár, choreographer and earstwhile artistic director of the Bartók Dance Ensemble in 1973, at the International Trade Union Folk Dance Festival, Szeged (Csongrád County, Southern György Martin ethnochoreologist (left), the father of the táncház Hungary). Photo: Táncház Foundation. movement and piper Imre Seres (right). Photo: Táncház Foundation. táncházak were springing up everywhere. In the first From the late ’70s on, would-be táncház musi- while, both the musicians and the dance teachers cians and dance instructors received regular train- trained with the Bartók Dance Ensemble. ing, though only on the peripheries of the official The next stage in the development of the move- educational system. More and more people attend- ment was the two-year training course which the ed the special workshops and summer camps—held Hungarian Institute for Culture organized for primarily under the auspices of cultural centers and táncház musicians and dance instructors between dance ensembles—and more and more of the stu- 1976 and 1978. The result was an upsurge of dents were Hungarians living abroad. For it did not táncház founding in the provincial towns, and sev- take long for the táncház movement to cross state eral more were established in Budapest. They also boundaries: táncházak were springing up in enlarged the dance repertoire, adding to the dances Romania, in what was then Czechoslovakia and from Szék dances from other regions of Tran- Yugoslavia, in Germany and Switzerland, as well as sylvania, as well as Hungary. The dances of Hun- overseas in Canada, the United States, and gary’s minority nationalities—Romanian, South Australia. But it was not just Hungarians living Slav, and Gypsy dances—had been taught from the abroad who were drawn to the táncház. People of all very first. Before long, independent ethnic tánc- nationalities will be found among táncház musi- házak were being set up: South Slav, Greek, cians and dancers today. The táncház movement has Bulgarian, and so on. become truly international.

38 For place names and regions, see the maps and the Gazetteer The Táncház Movement

Today, there are about 60 or 70 “táncház orches- NOTES tras” throughout Hungary, to say nothing of the 1 From the Hungarian folklorizmus, defined as “the adaptation by folk singers, the solo instrumentalists, and the professional artists of folklore elements and folklore motifs”. dance instructors. Besides their work at the táncház, these people give concerts and appear live at various 2 SIKLÓS László 1977. Táncház. Budapest. Part sociography, part functions, help both amateur dance ensembles and documentary, part fiction, the book is a review of the first five years professional troupes with their work, and take part of the táncház movement. MARTIN György 1981. “Szék felfedezése és tánchagyományai” [The discovery of Szék and its dance heritage]. in folk music education at home and abroad. The Tánctudományi Tanulmányok 1980-1981. Budapest. 239-277. The number of táncházak held regularly has also grown: only truly scholarly study on the subject, by the “father” of the in Budapest alone, there is one or two Hungarian táncház movement, a world-famous folk-music and folk-dance and/or ethnic táncház every day of the week; and scholar. Martin examines the discovery of the folk traditions of the several provincial towns have regular táncház ses- Transylvanian village of Szék (Sic, Romania), and its impact on Hungarian national consciousness. Since the folk music and folk sions once a week or once a month. The ethnic dances of Szék played a crucial part in the birth of the táncház move- táncházak, too, have shown a growing diversity, ment—the archetypal táncház was the táncház in Szék—the study with attempts being made to set up ones devoted includes a detailed discussion of the early years of the movement. exclusively to the Gypsy, Jewish, Flamenco and BODOR Ferenc (ed.) 1981. Nomád nemzedék – ifjúság és nép- mûvészet Magyarországon 1970-1980 [A generation of nomads. Cajun dance traditions. Youth and folk art in Hungary 1970-1980]. Budapest: Népmûvelési The countries that are Hungary’s immediate Intézet. A generously-illustrated work with text in English and neighbors have also seen a táncház revival, with the Hungarian, the book presents a panorama of the various branches of Hungarians living there rediscovering their folk the folk art movement of the ’70s, the táncház movement among dance heritage at dance workshops and special sum- them. SZÉLL Jenô (ed.) 1986. Húzzad, húzzad muzsikásom – a hangszeres népzene feltámadása [The revival of instrumental folk mer camps. In Western Europe and overseas, there music]. Budapest. The book introduces the so-called “táncház orches- are about as many regular táncházak today as at the tras”, their solo players and vocalists, but these reports and essays deal beginning of the 1980s. with the táncház movement per se only tangentially.

Sámuel Fodor “Neti Sanyi” and the Ökrös Band at a folk dance camp in Enon Valley, Pennsylvania, USA in 1996. Dancing in the Sámuel Fodor, “Neti Sanyi”, with his American pupils in Enon foreground: Kálmán Magyar, Director of the American Folklore Valley, Pennsylvania, USA in 1996. Photo: Béla Halmos, Táncház Centrum, New York and his wife, Judit. Photo: Ildikó Magyar, Foundation. Táncház Foundation.

For place names and regions, see the maps and the Gazetteer 39 Béla Halmos

Széki csárdás [Szék csárdás]. Táncház with the Kalamajka Band at the Belvárosi Ifjúsági Ház in Budapest in 1999. Photo: Nami Otsuka, Táncház Foundation.

Béla Halmos (1946- ) architect, fiddler, ethnomusicologist, a founding member of the Sebô Band, first first fiddler (prímás) of the táncház movement. Presently, a senior fellow of the Hungarian Institute for Culture, and director of the Táncház Foundation. He has authored several studies on instrumental folk music, released numerous folk records and cassettes, and directed films and documentaries on folk music and the táncház.

40 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

Hungarians in the Muravidék LÁSZLÓ GÖNCZ (Lendva/Lendava, Slovenia)

The Treaty of Trianon, signed in 1920, provided for did not identify themselves as Hungarians received Hungary’s cession of parts of the counties of Vas and their share of the large Esterházy family estate being Zala, home to approximately 22,000 Hungarian cit- parceled out in generous portions among those izens, and the annexation of this area to the newly settled in the region in the postwar wave of Slovenian part of the newly-founded kingdom of population shifts. These “settlers” usually set them- Yugoslavia. The ceded parts of these two counties selves up in self-contained communities within came to be called the Muravidék (Mura Region), an existing towns and villages, though several new vil- area of approximately 910 square kilometers. In lages were also founded in the course of the resettle- 1921, a quarter of the population declared them- ment process. Those resettled came from the Goricia selves to be of Hungarian nationality. By contrast, region and from Istria (both regions belonged to this figure is a mere 7 or -8 percent today. Italy at the time), as well as from parts of Slovenia The Muravidék, a composite of bits of several nearer by. The resettlement programs, as it is com- older ethnographic regions, is comprised of a num- mon knowledge today, were meant to serve the pur- ber of villages that once formed part of the Ôrség pose of assimilating the region’s Hungarian popula- (the region’s northernmost corner); the spurs of the tion, and would be a source of enormous problems Göcsej Hills (somewhat south of the old Ôrség vil- for both communities (the native Hungarians as well lages); about half of the ethnographic region of as the new settlers) and of countless conflicts. Hetés, i.e., the area south of the old village of Lend- Two negative circumstances of a fairly objective vavásárhely, today’s Dobronak (Dobrovnik); as well kind also worked against the ability of the Hun- as what is known as the Lendva region around the garians of the Muravidék to preserve their national historical village of Alsólendva (Lendava). The identity. One was the fact of their being a small Muravidék, accordingly, is characterized by the folk community: as a small community with minority traditions, folklore and folk motifs of the Göcsej, status, they had only limited scope for national self- Hetés, and Ôrség regions of Hungary. expression. The other factor was that with the post- The Hungarians of the interwar years who, at a World War I annexation, the people of the stroke of a pen, found themselves living in the Muravidék found themselves attached to a region “Muravidék” faced a great many hardships in their which was unquestionably more developed eco- “new surroundings”, which, directly or indirectly, nomically than their prewar Hungarian milieu (the would seriously effect their ethnic identity, and the Slovenian parts of the former Austrian Empire had subsequent status of the Hungarian language in the been among the more developed provinces of the region. Immediately following the cession, nearly Austro-Hungarian Monarchy). The end result was the entire Hungarian intellectual community left the Hungarian population's gradual acceptance of the Muravidék, some of their own choosing, some the Slovenian system of values. This crisis of values under duress. No less importantly, only those who was followed, from the 1950s and 1960s on, by a

For place names and regions, see the maps and the Gazetteer 41 Reports

major national-identity crisis for the Hungarians of tional rights for minorities). There are three plausi- the Muravidék, when the national identity of the ble explanations for this change in policy: community as a whole was seriously challenged (1) The total population of the native Italian from several quarters. (2) and Hungarian communities did not exceed 1 Certain Catholic priests with Slovenian national percent of the population of the Slovenian Republic sentiments had played a key role in the postwar at that time; thus, the policy was probably seen as a annexation of the Muravidék. As a consequence, low-risk investment. Catholicism—and the vast majority of the Hun- (2) The Slovenian nation had to set a precedent, garians in the Muravidék are still Roman Catholics— in order to all the more effectively champion the was, if anything, counter-productive from the point cause of ethnic Slovenians living in Austria, Italy, of view of the preservation of their Hungarian and elsewhere. national identity. Thus, although Catholic church (3) An astute assessment of the international services are regularly held in Hungarian to this day in political climate on the part of Slovenian politi- the Hungarian-speaking areas, this native-language cians: the institutional guarantees of minority rights church has had no significant positive influence on bore high interest for Slovenia as it attained inde- the development of Hungarian national conscious- pendent statehood in the early 1990s. ness, nor even on the preservation of the Hungarian- The main point of the Slovenian minority policy speaking community’s native tongue. There are also of positive discrimination is that in the areas of edu- some Lutherans and Calvinists living in the villages cation, culture, and the media, as well as in relations of the Ôrség, as well as in the Szentlászló (Laslovo, with the mother country, the minority group has Croatia) area. special opportunities and institutional means that Formally speaking, during the interwar years, the are subsidized by the state directly out of the central law provided that the Hungarian minority of the budget. Native minority groups have been able to Muravidék receive its education in the vernacular assert their interests through their own organiza- (teaching in Hungarian was outlawed in 1939); in tions which are linked to networks of local institu- practice, however, the law was inconsistently applied, tions. These minority organizations (today they are its implementation further hampered by the lack of called ethnic corporations) have founded the cul- Hungarian teachers. tural institutions and ethnic media of the Muravi- Amateur groups have always been the mainstays dék Hungarians, and are also co-founders of the of Hungarian culture in the region. However, bilingual schools that are becoming more and more between the two world wars, some peculiar dis- common in the area. Hungarian has formally been criminatory measures were adopted in this area as acknowledged as one of the official languages of well. For example, if a Hungarian theater group Slovenia but, naturally, its coequal use cannot be wanted to perform a Hungarian play, the actors consistently implemented in practice. At the end of were obliged to learn—and put on—the same piece the 1980s, the minorities were granted some sup- in Slovenian, too, though they could not speak a plementary rights: native minority groups now have word of the language. permanent membership in parliament, their repre- In spite of all this, the national consciousness of sentatives being elected exclusively by members of the Hungarians in the Muravidék remained unbro- the given national minority. These minority repre- ken throughout the interwar period. The process of sentatives with special status have also been admit- disintegration had barely begun. ted to the institutions of self-government. The 1960s brought radical changes in the official In addition, there are Hungarian ethnic councils minority policy of Slovenia, marking the beginning operating in each self-governing territory (at the of a period of positive discrimination (i.e., addi- moment there are five of them), their representa-

42 For place names and regions, see the maps and the Gazetteer Reports

tives being elected at the general local elections. formances, music and folk dance programs, etc.); These ethnic councils elect, from among their own and supports a variety of scholarly activities, whose circles, the members of the highest Hungarian rep- numbers, happily, are steadily increasing (especially resentative forum of the Muravidék, the Hungarian in the fields of ethnography, local history, sociogra- National Self-Governing Community Council of phy, and cultural history). the Mura Region. Both bodies have veto rights in As far as education is concerned, bilingual educa- the areas of minority education, culture, and the tion was introduced in the Muravidék in 1959. The media, the ethnic councils at the local level, and the system has instilled in the younger generations a Hungarian council of the Muravidék on larger certain feel for coexistence, since Slovenians and questions, much as the minority representatives in Hungarians alike have no choice but this type of parliament have veto rights on cultural issues affect- schooling at present (the decision to that effect was ing the entire ethnic community. brought at a local, and not at the state level). This system, considered to be ideal and unprece- However, the system’s disadvantages for the preser- dented in theory, can, of course, be only partially vation of the Hungarians’ ethnic identity and moth- implemented in practice. The greatest impedimant er tongue are becoming increasingly clear; still, for to its realization is the displeasure and inflexibility the moment, there is no power strong enough—nor of certain members of the majority nation, our the will, even among Hungarians—to reform the next-door neighbors; but just as much of a hin- present system. drance, perhaps, is the identity crisis that has beset In the field of journalism and telecommunica- many small Hungarian communities, as well as cer- tions, the Hungarians of the Muravidék are in an tain reflex reactions inherited from the pre-1990 enviable position. Our weekly journal, the Nép- decades. Another factor of significance is the per- újság, is published by a permanent editorial staff; centage of mixed marriages: approximately 50 per- the Hungarian Radio of the Mura Region broad- cent of all marriages contracted by the Hungarians casts eight hours a day to listeners in the region as of the region. The vast majority (approximately 80- well as to those in the neighboring counties of 85 percent) of individuals born into mixed-mar- Hungary; and the Board for Hungarian Television riage families identify themselves as members of the Programming is gradually gaining importance. majority nation. They still speak Hungarian to The Hungarians of the Muravidék and their some degree; however, they make no particular institutions cooperate with the mother country effort to perfect their knowledge of the language. and its various institutions in many ways, but the Today, the cultural activities of the Muravidék immediate cooperation between border communi- Hungarians are coordinated and supported by the ties based on direct bilateral relations is of a very Institute for Culture of the Hungarian National special importance. Minority. The organization coordinates the work of The help of experts from Hungary is valued par- approximately forty lay groups; publishes the ticularly in the field of education. There has also been Hungarian books that come out in the Muravidék significant progress in pan-Hungarian cooperation in (about ten literary, professional, and scholarly books recent years. The Muravidék Hungarian community are published a year, as well as a regular journal and as a collective is a member of the World Federation a yearbook); finds various ways of fostering the use of Hungarians and of the Mother Tongue Con- of Hungarian as a mother tongue (essay competi- ference, and is engaged in a wide variety of coopera- tions for children and adults, literature and history tive efforts with the Hungarians of the Csallóköz, the competitions, poetry recitals, native-language sum- Vajdaság (Voivodina, Yugoslavia), and Croatia. mer camps where children can learn about The chances of preserving our Hungarian ethnic- Hungarian culture, theater and puppet theater per- ity in this region will depend on how far we manage

For place names and regions, see the maps and the Gazetteer 43 Reports

to establish the prestige of our national values and ential state in the region, and whether the native language in the near future. The Euro- Hungarian intellectuals of the Muravidék will man- Atlantic integration process is only of minor conse- age to exploit our cultural and linguistic riches to quence in this regard. The truly decisive factors are their full potential. whether Hungary will manage to become an influ-

László Göncz (1960- ) historian, Director of the Cultural Institute of the Hungarian Ethnic Minority in Lendva (Lendava, Slovenia). Research area: history of the etnic minorities, mainly history of the Hungarians of Muravidék. Major works: A Muravidéki magyarság 1918-1941 [Hungarians of the Muravidék 1918-1941]. Lendva. 2000; Fejezetek Lendva-vidék történetébôl 1920-ig [Chapters form the history of the Lendva region till 1920]. Lendva. 1997; Az Ôrség peremén [On the fringe of Ôrség]. Lendva. 1998.

44 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

The Vajdaság (Voivodina) Center for Hungarian Folklore ISTVÁN NAGY and ROZÁLIA RAJ (Szabadka/Subotica, Yugoslavia)

The Vajdaság Center for Hungarian Folklore, an ethnography, to make them available primarily to independent, non-profit, non-political, grass-roots our members, but also to the public at large. organization, was founded in Bácstopolya (Baæka In view of the great demand for the rapid synthe- Topola, Yugoslavia) in September, 1995. sis and exchange of information on folklore and “Vajdaság” (Voivodina) is the first and most related fields, the Center for Folklore launched a important element of our name, our primary aim newsletter soon after its foundation. Initiated and being to gather everyone in the Vajdaság involved in edited by István Nagy, it is the first and still the only folk music, folk dance, and folk art into one insti- bulletin in the region meant to satisfy the needs of tution. “Hungarian” is another key constituent of the amateur folklore movement. It has set into our name, because we are an association of profes- motion an unprecedented flow of information, sionals and non-professionals composing in from both inside and outside Yugoslavia, on a wide Hungarian, and engaged in the folk culture of the range of topics of general interest in the fields men- Hungarian people. This, of course, by no means tioned above. precludes cooperation with organizations and pro- From the very beginning, the organization has paid fessionals dealing with other folk cultures; indeed, special attention to the professional training of peo- among the aims of our organization is to bring ple involved in amateur folk movements. Having together individuals and associations involved in never had any form of Hungarian folk art taught in two or more folk traditions. Finally, we call our- the region’s schools, and with little hope of the cur- selves a “Center for Folklore” because we mean to riculum changing in that direction, we began to be an information center coordinating the efforts of organize meetings, conferences, and long-term cours- individuals involved in folklore, both in its narrow es (running one to two school years) in various areas and broader sense, both inside and outside the of folk art, inviting our own specialists from the country’s borders. Vajdaság, as well as from Hungary to serve as instruc- The center’s objectives, as specified in the articles tors. We have organized courses in folk games and of association, is to study, preserve, cultivate, dancing for elementary school and kindergarten process, and popularize Hungarian folk tradition teachers, courses in basic embroidery, and advanced both in the Vajdaság and beyond, and to assemble courses for embroidery instructors in Szabadka and instruct those active in non-professional folk (Subotica), Becskerek (Zrenjanin), and Újvidék movements with the aim of achieving a higher (Novi Sad). We have sent our members to seminars degree of professionalism in the fields of folk music, (choreographer training in Budapest), conferences folk dance, and applied folk arts. and craft camps (in Békéscsaba and Zalaegerszeg, We also wish to set up a research center that will Hungary) and have organized field trips to Budapest collect and classify the documentary sources (writ- (to the “Discovering Kalotaszeg” exhibition at the ten, audio, audio-visual and digital) of Hungarian Hungarian Museum of Ethnography). We regularly

For place names and regions, see the maps and the Gazetteer 45 Reports

visit local exhibitions, and gratefully acknowledge the with the Petôfi Sándor Hungarian Cultural cooperation, professional supervision and sponsor- Association of Újvidék (Novi Sad). We plan to ship of the Hungarian Culture Foundation, the Folk make this a biennial event. Style workshops are reg- Dance Center, the Hungarian Museum of ularly held for folk dancers in Temerin (Temerin), Ethnography, the Folk Game and Handicraft under the able direction of Imre Lukács, with guest Teachers School, the György Martin Association for performers from Hungary. Folk Dance, the European Folklore Institute, the In studio sessions held on the Kátai farm in Táncház Foundation, the Discover Hungary Kishegyes (Mali I¥oÆ), a perfect setting to inspire Alliance, and the Foundation for the Teaching of creativity, we study the ornamental patterns of Folk Art (all in Budapest), as well as the Craftsmen’s textiles from the region with the help of the pro- Halls of the Baranya, Békés, and Csongrád county fessional embroiderers and embroidery instructors cultural centers, and the Gönczi Ferenc Cultural who collected these samples themselves, and, rein- Center of Zalaegerszeg. terpreting the patterns and motifs, create new Our professional embroiderers and embroidery artifacts embroidered with authentic ornamental instructors have exhibited their works at the folk motifs. In Doroszló (Doroslovo) in Southern International Folk Art Festival (Szeged, 1998) and Bácska, we have organized children's camps for the National Folk Art Exhibition (Budapest, 1996), the preservation of folk traditions on six separate and have taken part in the Twenty-second Bori Kis occasions so far, with great success. This is the Jankó National Embroidery Competition only camp in the region that is held in an authen- (Mezôkövesd, Hungary, 1999). Our folk dancers, tic folk environment, where campers from the bands, and various individuals from the amateur entire territory of the Vajdaság can experience the movements have performed at the Festival of spiritual and material legacy of peasant culture, Hungarian Minorities in Pécs (Hungary). and learn the unwritten rules and customs of We have released our first audio cassette, provid- closed communities, and about the region itself as ing the folk music groups and soloists of the one single community dedicated to the preserva- Vajdaság the opportunity to reach a wider audience. tion of these traditions. In the autumn of 1997, the music on the cassette The conferences we have organized for leaders of was played at live performances in Hungary, in folk dance groups and traditional ensembles have Szeged, Kecskemét, and Budapest. also met with a positive response. Two summer We started holding folk dance and music classes handicraft camps have been held under the direc- for beginners; unfortunately, however, we have had tion of Attila Varga, with primarily focus on tradi- to suspend this program for lack of funds. Inspired tional handicrafts which researchers have found to by folk embroidery instructor Rozália Raj, we held have been firmly established in this region at one the Margit Polák Embroidery Competition for the time, but which are just a memory today (e.g., the first time in 1998, and hope to hold it biennially in making of horse hair jewelry). the future. In 1995, we revived the Vajdaság Táncház Festival, The folk dancers of the Vajdaság have shown a tradition interrupted by the 1991 war in Yugoslavia. great interest in the new type of folk-dance compe- Since then, it has been held under the direction of tition and rating system developed by the György Tibor Vas in cooperation with the Móra Ferenc Martin Association for Folk Dance. To encourage Cultural Association in several locations in Yugoslavia: constant improvement, folk dancers are provided Bácstopolya (Baæka Topola), Feketics (Feketiª), and the opportunity to perform and be rated on stage, Csóka (…oka). Unfortunately, in the autumn of 1998, an event which was organized for the first time in the fifth anniversary of the festival had to be canceled 1997 by the Center for Folklore in cooperation due to the renewed threat of war.

46 For place names and regions, see the maps and the Gazetteer Reports

Thanks to the support of the Town Council of to sing the traditional songs and dance the tradi- Szabadka (Subotica), we have received office space tional dances, if they treat our cultural legacy with free of charge. It is here that the volunteers who run due respect, study it and pass it on, if they not only the Center carry out the organizational part of their delight in a Hungarian stage performance but find work. Our major problem is that the association has the values expressed on stage to be a source of inspi- no continuous source of financial support, and no ration in their everyday lives, then we, the cultural paid employees. We finance each planned project organizations active today, have done our job. The mainly with support from abroad. Vajdaság Center for Hungarian Folklore, for one, is As we see it, cooperation with the mother coun- dedicated to carrying on in this spirit. try can be truly fruitful only if the Hungarian communities of the region are in the position to follow its fine example. For Hungarians living outside the borders of Hungary, anything that the various cultural organi- Vajdasági Magyar Folklórközpont zations do to foster and preserve our ethnic identi- (Vajdaság Center for Hungarian Folklore) ty is of enormous significance. If the new genera- Subotica 24000 tion is not content to simply learn to read and write B. NuÆiª 2. Yugoslavia Hungarian, if our youngsters aspire to express Phone/Fax: (281 24) 29-221 themselves in this language as native speakers, want E-mail: [email protected]

Rozália Raj (1950, Doroszló/Doroslovo, Yugoslavia), teacher of folk embroidery and folk dressmaking, Secretary of the Center for Hungarian Folklore (Vajdaság/Voivodina, Yugoslavia). István Nagy (1957, Magyarittabé/Novi Itebej, Yugoslavia), certified folk dance instructor. Artistic Director of the Center for Hungarian Folklore. Both have done complex research on folk songs, folk music, folk dance, folk art and folk religion in the Voivodina, and have produced ten video films on these subjects to date. Joint major works: Bajkúti Szûz Mária, könyörögj érettünk. A doroszlói kegyhely történetének összegyûjtött adatai [Our Lady of Bajkút, pray for us. Collected data on the history of the Doroszló shrine]. Tóthfalu: Logosz. 1993; Doroszlói népi textiliák [Folk textiles from Doroszló]. Tóthfalu: Logosz. 2000.

For place names and regions, see the maps and the Gazetteer 47 Hungarian Heritage Volume 1 2000

“Where Regions Meet”: Carpathian Basin Days IMRE GRÁFIK (Budapest)

The Hungarian Culture Foundation was officially first cultural festival for Hungarians living outside registered in 1993. The members of the Board of the borders of Hungary was born: “Where Regions Trustees are: Sándor Csoóri, poet and president of Meet: Carpathian Basin Days ’96”. During the fes- the World Federation of Hungarians, chairman; tival, which lasted several days, representatives of the László Dobos, writer, Felvidék (Upper Hungary); Felvidék (Slovakia), Kárpátalja (Ukraine), Erdély Albert Egyed, scholar of arts and letters; Ervin (Transylvania, Romania), Vajdaság (Voivodina, László, futurist, Italy; Aladár Lászlóffy, poet, Erdély Yugoslavia), Szlavónia (Slavonia, Croatia) and the (Transylvania); György Osváth, European Com- Slovenian Muravidék all held independent events. mission, Brussels; Edward Teller, nuclear physicist, The festival was held at the headquarters of the USA; László Tôkés, Reformed bishop, Erdély Hungarian Culture Foundation (Budapest, 1st dis- (Transylvania); and József Zelnik, ethnographer, and trict, Szentháromság tér 6), and at the headquarters president of the Hungarian Cultural Alliance. The of the World Federation of Hungarians (Budapest, main goals of the Foundation, according to its arti- 5th district, Semmelweis u. 1-3). Some minor addi- cles of association, are to establish and maintain cul- tions and changes notwithstanding, the basic format tural contacts among Hungarian intellectuals on formulated for this occasion set the pattern for future both sides of the borders of Hungary, organize events as well: for example, exhibitions and shows regional meetings, and provide support for the (ethnography and folk art, peasant wear, fine arts, establishment and maintenance of these contacts. photos, books, and films); lectures and discussions It was in 1994 that the Foundation first organized (in literature, sociology, culture, history, language, the “Vajdasági Napok” (Voivodina Days) at its and education); and various folk culture events and headquarters in the Buda Castle. Here, the repre- folk art fairs (complete with folk songs, folk tales, sentatives of Hungarians living outside the country’s folk dance, folk music, and folk custom demonstra- borders could present the traditions and samplings tions, as well as demonstrations by artisans and mas- of the classic and contemporary cultural wealth of ter craftsmen). The “Identity Club”, special forum the Vajdaság. In 1995, the event was expanded to for dealing with questions of national identity, lan- include a special focus on Beregszász (Berehovo, guage and culture of interest to Hungarians living Ukraine), a city that was celebrating the 900th outside Hungary in the Carpathian Basin, was set up anniversary of its foundation that year. at this time, and representatives of the different In 1996, the year of the 1100th anniversary of the regions offered those attending the festival delicious Hungarian Conquest, the organizers attached great baked goods and drinks based on the traditional importance to Hungarians separated by state bor- recipes of their regions. ders being able to celebrate together in Budapest on In 1997, the “Where Regions Meet: Carpathian St. Stephen’s Day, the feast of the founder of the Basin Days II” events were concentrated around Hungarian state, King Stephen I. That is how the Buda Castle. This cultural festival of all Central

48 For place names and regions, see the maps and the Gazetteer Reports

European Hungarians was of special symbolic sig- Organizing such a series of events has required a nificance: the citizens of Beregszász (Beregovo, great deal of effort on the part of the Foundation, Ukraine), a town which, 750 years earlier, had the different regions, as well as all participants and received its municipal status from King Béla IV, fit- contributors. Although the different events have tingly joined in celebrating the anniversary of the not always been comparable in respect of content 750-year-old Buda Castle. and standard, nor, owing mostly to objective diffi- “Where Regions Meet: Carpathian Basin Days culties, the representations of the out-of-country III” held in 1998 centered on the commemoration regions, every vistor has always been able to find the of the 150th anniversary of the 1848-49 Revolution events most suited to his or her interests, and been and War of Independence, and the person of able to form a fairly realistic, though not quite com- Sándor Petôfi, the most celebrated Hungarian poet prehensive, picture of the conditions under which of the age. Hungarians live in the Carpathian Basin today. By 1999, the festival had become a real tradition. The greatest merit of the Hungarian Culture “The Legacy of the Centuries” was the theme of Foundation’s initiative has been formulated by the “Carpathian Basin Days IV”. In keeping with this participants themselves: “The annual series of theme, the various events were meant to revive mem- events organized every August as the ‘Carpathian ories of former times, make people ponder the rela- Basin Days’ of the `Where Regions Meet' program tionship that Hungarians have had to Christianity are vital for Hungarians living outside the borders throughout the ages, inspire a fresh look at the works of Hungary; it is our only opportunity to present of art created a hundred years ago for the Millennial our rich cultural heritage to each other and the out- celebrations, and foster an appreciation of Hungary’s side world, and to celebrate St. Stephen’s Day.” centuries-old folk traditions.

Imre Gráfik (1944- ) ethnographer and museologist, Senior Fellow of the Hungarian Museum of Ethnography. Research areas: transportation in traditional cultures, folk architecture, ethnosemiotics, studies on ethnic minorities and Hungarian studies. Major works: A magyarországi fahajózás [Wooden boats in Hungary]. 1983; Jel és hagyomány [Signs and traditions]. 1992; (ed.) Tanulmányok a szlovéniai magyarság körébôl [Studies on the Hungarians of Slovenia]. 1994; (ed.) Vas megye népmûvészete [The folk arts of Vas County]. 1996; Signs in Culture and Tradition. 1998.

For place names and regions, see the maps and the Gazetteer 49 Hungarian Heritage Volume 1 2000

The “Final Hour” Folk Music Project LÁSZLÓ KELEMEN (Budapest)

In 1990, still somewhat dazed by the 1989 “revolu- new era in pop music the world over, a change tions”, and overwhelmed by the swift advance of whose significance is comparable to the earlier shift Western consumerism in Romania, I began to won- from vocal to instrumental music. Now electronic der how we could preserve for future generations instruments are replacing acoustic ones, and this something of that incredibly rich and diverse process has already reached the villages. Naturally, instrumental folk music tradition which flourished this has meant not only the use of new instruments, in Transylvania (Erdély) for over two centuries, and but also the emergence of new music appropriate to whose decline was dramatically accelerated when these instruments; most of the old music is gradually being forgotten as a result. Thirdly, Transylvania is in the throes of a significant social change: the Jews and ethnic Germans have emigrated, the village farms are becoming impoverished, and industry has been fundamentally transformed. All these changes taken together warn us to take heed: as far as old instrumental folk music is concerned, we have certainly reached the “Final Hour”. Recognizing this, I determined to start organizing the “Final Hour” collection project. The idea is not new. Audio recordings were made as early as the period between 1936 and 1944, under the direction of Béla Bartók, Oszkár Dincsér, Zoltán Kodály, and The Szászcsávás Band in 1999 at the Fonó Music Hall. Gyula Ortutay. Under the auspices of the Hun- Photo: Táncház Foundation. garian Academy of Sciences and later, Hungarian Radio and the Museum of Ethnography, previously Romania’s artificial isolation came to an end. There selected informants were invited to Budapest to are, of course, many other reasons for this decline, record in the studios of the Hungarian Radio. beyond the opening of the borders. Firstly, the gen- Several of these recordings were later published as eration that had still had the chance to learn this the “Pátria” record series, named after the manufac- archaic material as it was handed down unaltered turer. However, the war and the subsequent politi- from father to son has all but vanished, and even cal changes put an end to these efforts. The “Final those as yet among the living cannot pass on their Hour” project has taken up where these illustrious knowledge to the next generation, such has been the pioneers left off, the “New Pátria” record series socialist destruction of the rural way of life. offering a selection of the enormous mass of mate- Secondly, we are experiencing the beginning of a rial that we ourselves have collected in recent years.

50 For place names and regions, see the maps and the Gazetteer Reports

For financial help, I turned to the Institute of ble German, Jewish, and Slovak material. The peace- Musicology of the Hungarian Academy of Sciences, ful musical coexistence of the peoples of Transylvania the Museum of Ethnography, and the Ministry of can indeed serve as an example to a Europe set on the Culture. In the Fonó (“Spinnery”) Music Hall in course to unification. Buda, I finally found a location suited for starting We recorded the new Transylvanian musical mate- the project, and sufficient financial support. The rial in three major sessions, taking into consideration Fonó Music Hall is a new, private cultural institu- the agricultural work schedule of the village people. The first session was from September to Christmas of 1997; the second from January of 1998 to the end of May; and the third from September to Christmas of the same year. We invited forty-six folk groups to Budapest within the framework of the “Final Hour” project, and recorded approximately 650 hours of music in our studio. Having completed the Transylvanian part, we decided not to stop there but to go on to include Upper Hungary (Felvidék). The job of collecting material there lasted until February of 2000. Under the direction of Gergely Agócs, a young ethnographer from the region, we recorded twenty-four bands there, and ended up with approx- Dancers from Budatelke (BudeØti, Romania) at the Fonó Music imately 200 hours of audio recordings of Hall. Photo: Béla Kása, Fonó Music Hall. Hungarian, Slovak, Ruthenian, and Goral (a Polish tion which functions as a non-profit organization. people living along the Polish-Slovak border) music Here we set up a separate studio, where we digitally during this period. Our work has proved to be of record the material collected first on a PC hard interest not only to the scholarly community but drive and then on CD in two copies, one of which also the general public, and the President of the remains at the Fonó Music Hall, while the other Hungarian Academy of Sciences and the head of the goes to the Institute of Musicology. At the same Ministry of National Cultural Heritage have both time as the audio recordings, we also make visual assured us of their personal interest and financial recordings of our “informants”, though only with a support. Thus encouraged, we decided to supple- simple video camera (HI8). The protocol of the col- ment our collection by gathering the musical mate- lection is computerized, and the material is current- rial of the Great Plains (Alföld), i.e., “Lesser ly being turned into a database. Hungary”, and so round out the collection “map” of The theoretical starting point of our work was the the Carpathian Basin. We have dubbed this new existence of a unitary instrumental folk-musical lan- phase the “Lesser Hungary” project for lack of a bet- guage in Transylvania, as is clear from the material ter term, for in fact we shall be collecting material collected so far. There are, we find, only minor dif- from a region whose boundaries lie beyond the bor- ferences in the instrumental music played by the ders of the present-day Republic of Hungary, since Romanian, Hungarian, and Gypsy bands of any the logic of ethnographic units was among the con- given village, and even these differences stem prima- siderations ignored when the map was redrawn by rily from the differences in education. In the course the framers of the Treaty of Trianon. Thus it is that of our own collecting, we took great care to gather informants from four neighboring countries will be musical material from all three of these ethnic among those invited to contribute to our “Lesser groups, and systematically inquired about any possi- Hungary” collection.

For place names and regions, see the maps and the Gazetteer 51 Reports

Folk musicians from Szászcsávás (CeuaØ, Romania) at the Fonó Music Hall. Photo: Béla Kása, Fonó Music Hall.

The mass of collected material is by no means Once we have finished, we hope to be able to say, intended to be a closed and inaccessible collection. without exaggeration, that the instrumental folk Once we are done processing the material, we wish music of the Carpathian Basin is the best docu- to open our collection to scholars to copy, study, mented in all Europe. and classify. Finances allowing, we plan to put the collection on the Internet. We also plan for copies of the collection to be returned to the places where it originated, i.e. Transylvania and Upper Hungary. Fonó Budai Zeneház (Fonó Music Hall) In cooperation with Fonó Records, we have released Budapest, 11th district, Sztregova u. 3. a representative series of CDs—so far with one CD Phone: (36 1) 206-5300, (36 1) 206-6296 by each band—in our “New Pátria” series. Website: www.fono.hu

László Kelemen (1960- ), composer, viola player. Leader and violist of the Ökrös Band, and responsible for all its musical arrangements. Head of the “Final Hour” project, editor of the “Új Pátria” [New Pátria] series. Main research interests: the collection, research and publication of Transylvanian instrumental folk music. Major works: the “Új Pátria” series (12 CDs to date); Szólószonáta hegedûre [Solo sonata for violin]. Budapest: Hungaroton. 1995.

52 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

Images of Tradition FERENC CSERVENKA (Budapest), with an introduction by MIHÁLY HOPPÁL (Budapest)

When, as a young ethnographer, I first arrived in Szék Serestély, that magnificent singer, were immortal- (Sic, Romania) in the early 1970s in the course of sev- ized in the crystal-clear tones of the archaic style of eral short field trips to various points in Transylvania singing. His commentaries also shed light on cer- (Erdély, more precisely, the Székelyföld), I was over- tain elements of the traditional way of life. Later, come by the strange feeling that the world of my text- we had the opportunity to enjoy the hospitality of books was coming to life before my very eyes. What I his family when we returned with photographer had read in the classical ethnographic descriptions was Ferenc Cservenka on several occasions. The two of still very much a living tradition there. us accompanied the people to church, to the The town of Szék, hidden among the hills near Easter services and to the service on St. Kolozsvár (Cluj-Napoca), revealed an old-new Bartholomew’s Day. We admired the great variety world to visitors from Budapest. This was a period of local peasant wear, and the vivid colors of their in the late 1960s and early 1970s when you could embroidery. On one occasion, for example, we once again travel to Transylvania without restric- witnessed women in preparation for a funeral tions. The stranger from afar was received with dis- painstakingly selecting shawls with the right colors tinct hospitality, and a wondrous openness and of embroidered flowers, carefully avoiding the warm-heartedness in almost every house. Both the striking color combinations. lovely women wrapped in embroidered shawls and The táncház, a small dance hall, completely the men in yellow straw hats greeted the stranger in enthralled young researchers who visited it for the the street as if they had been old acquaintances. first time. It was there that one could really come to And indeed, there was some sort of link between understand what it meant for young people to gath- these villagers and the city-dwellers who had under- er together to dance and sing, and simply enjoy taken the long trip there, something other than the themselves, and for young men to woo the young Hungarian language, something they never talked lasses. The táncház provided an excellent opportu- about: they shared a common project. While the nity for young men to demonstrate their virility and city-dwellers busied themselves with the conscious strength as they competed to showed off their excel- preservation of folk traditions, the villagers were lence at dancing, and a chance for the young transmitting these traditions instinctively. women to test and prove their virtue. The táncház The young folk music scholars made audio was where young people could learn the traditional recordings, the filmmaker brothers shot folk cus- norms of behavior, and prove that they could toms with a simple movie camera, others learned adhere to these norms; and at the same time, it pro- the folk dances, and the folklorist recorded popu- vided an opportunity to give vent to the passions of lar superstitions and local legends with his cum- youth. In brief, it was the place to learn how to be bersome tape recorder. Long conversations were an adult, a place where one underwent a sort of pro- captured this way, and the songs of István tracted rite of passage.

For place names and regions, see the maps and the Gazetteer 53 Photographic Essay

In much the same way, the visit to Szék was a rite gradually the women, and now even the young girls of passage for the young ethnographer that I then have abandoned these links to the past. The old cus- was, an initiation to real ethnographic field work. toms, too, are on their way out: weddings are And when I wandered through the streets of the vil- becoming more ceremonious, and are gradually lage together with a photographer friend of mine, turning into large-scale social events. and attended a funeral as well as other church serv- “Christenings” to celebrate the birth of babies ices in this Calvinist village, the narrative material have lately taken the form of something akin to gathered gained a visual dimension. The photo- small weddings. But funerals still bring together all graphs by Ferenc Cservenka are among the finest the relatives in collective mourning, and even the pieces of Hungarian ethnophotography, and, particular part of the village where the deceased had together with the photos of Péter Korniss, László lived. The most striking change in custom is what Kunkovács, and Béla Kása, introduced a new style has happened to the táncház: instead of the separate of ethnographic photography in those years of the dances formerly organized in the different parts of “ethnophotographic movement”. The main point the village, today it is the disco in the village center was to combine documentary authenticity with aes- that has become the meeting place for young people. theticism of composition and intensity of imaging. Thus, the pictures presented here, photographs of It was these together which made their photos not poetic beauty taken by Ferenc Cservenka in the just good, but beautiful. 1970s, are historical documents now, capturing The socio-political changes of recent years have scenes and moments that will never again be. The changed things in Szék, too. This is made abun- recorded gestures, the folk wear, the shawls, and the dantly clear by the new, two-story houses recently dance movements are parts of the heritage of the built by some families. Peasant wear, with its uni- rural past. They are cultural treasures worthy of form beauty, has disappeared: first the men, then being preserved.

54 Photographic Essay

Dancers

A young couple gives the guests from Budapest a sampling of traditional dances from Szék. The legényes, or bachelor’s dance is a test of a man’s talent for solo improvisation. The great fiddler István (“Kávés”) Szabó provides the music.

55 Photographic Essay

“Church Goers”

Men gathering outside the church wall before Sunday services to talk while they wait for the church bell to summon them in.

56 Photographic Essay

Young men (facing page bottom), middle-aged family men (top), and older men sitting by the church wall.

57 Photographic Essay

Easter Sunday Morning

Leaving for church services. This devout Calvinist community considers it very important to pass on traditions. Women take the lead in this.

58 Photographic Essay

In Front of the Church

Women exchanging the latest gossip before church services.

59 Photographic Essay

In Church

The serious, attentive faces of a congregation taking in a sermon, calculated to strengthen their religious faith, which has kept the generations before them on the path of righteousness.

60 Photographic Essay

At the Funeral

The funeral is a social event affecting not only relatives but also the whole community. Everyone wants to pay his or her last respects to the deceased. At the same time, it is also an opportunity to visit the graves of relatives and members of the immediate family.

61 Photographic Essay

Easter

Boys heading off to “water” the girls; this entails sprinkling (or dousing) them with pure water or cologne. This practice clearly harks back to some old fertility rite.

“Bújj, bújj, zöld ág...” (Slip through, burst forth, little green branch...), an ancient children’s game, often played by adolescent girls. 62 Photographic Essay

Children’s Games

63 Photographic Essay

In the Táncház

The táncház was a special institution in this village. It was an occasion for young people to meet and dance and gave the young men an opportunity to woo the young women. It facilitated the process of choosing a partner and provided a forum for boys and girls to socialize.

64 Photographic Essay

Young people grew up with traditions, and within them. Besides learning different dance styles, they also acquired the norms of social behavior.

65 Photographic Essay

Generations

The local Gypsy minority was a respected group within the village community, all the more so because they also provided the music in the táncház.

In the 1970s, everyone was still dressed in traditional peasant wear, and this also held true for the children. This little boy is observing the girls’ singing game.

Both this marriageable young girl and her grandmother were still dressed in the local peasant wear in the 1970s. The two of them together illustrate the transmission of cultural traditions.

66 Photographic Essay

Portrait of a woman.

Ferenc Cservenka (1945- ) ethno-photographer. One-man exhibitions of his work have been held at the Hungarian National Gallery (Budapest), at the University Gallery in Debrecen, and at several other locations. Was one of the first Hungarian photographers to regularly tour Transylvania in the 1970s. Mihály Hoppál (1942- ) ethnologist, Senior Fellow of the Institute of Ethnography, Hungarian Academy of Sciences, Director of the European Folklore Institute. Main fields of interest: ethno-semiotic approaches to folklore and tradition, Siberian shamanism. Major works: Etnoszemiotika [Ethno-semiotics]. Debrecen. 1992; Schamanen und Schamanismus. Augsburg. 1994; Folklór és közösség [Folklore and community]. Budapest. 1998.

For place names and regions, see the maps and the Gazetteer 67 Hungarian Heritage Volume 1 2000

“The Folk Culture of Hungary”: The Permanent Exhibition of the Hungarian Museum of Ethnography ATTILA SELMECZI KOVÁCS (Budapest)

Located across the square from the Houses of It is this kaleidoscope of cultures that is reflected in Parliament in the old Supreme Court Building, one of Room 1 of the exhibition, where the country’s major the architectural highlights of Budapest, the Hun- ethnic groups are represented in their “Sunday best”. garian Museum of Ethnography has prided itself on The glass case on the right contains the peasant wear its Hungarian collection since the turn of the century. of the various Magyar regions of the country; the glass The present Hungarian exhibition, opened in 1991 case on the left contains the festive clothing of the var- and refurbished for the museum’s 125th anniversary ious non-Magyar ethnic groups. The colors, the pat- six years later, is a collection of artifacts dating from terns, the materials used all reflect the ethnic, region- the late eighteenth century to the First World War: al and social differences that characterized peasant clothing, tools, implements, household utensils and society in nineteenth-century Hungary. Most of the personal belongings used by the peasantry of pre- exhibits were first put on display at the “ethnograph- Trianon Hungary at special moments, and in the ic village” set up in 1896 as part of the millennial cel- course of their day-to-day lives. Perforce the items col- ebrations, and have been in the museum’s possession lected can give but a sampling of the rich storehouse since that time. of folk culture; but the curators have done their best A nearly life-sized eighteenth-century “Suffering to touch on its every aspect, and show how this tradi- Christ” dressed in burlap receives the visitor at the tional culture forms an organic part of the European entrance to Room 2: the statue, which comes from cultural heritage. Northern Hungary and used to be carried in pro- The exhibition opens with a tableau of the eth- cession, underlines the primacy of place assumed by nic, linguistic and religious distribution of the the Church among the institutions that regulated population of the Carpathian Basin. Trans- the life of the peasantry, and influenced folk cul- danubia (Dunántúl), the Great Plain (Alföld), ture. Other institutional frames—the manor, the and Transylvania (Erdély)—the territories with a village, the market town, and the industrial town— predominantly Magyar (i.e., ethnic-Hungarian) are, aptly, represented mostly in their capacity for population—had been the hardest hit, we learn, dispensing “justice”, or more exactly, punishment: by the hundred and fifty years of Ottoman occu- an imposing collection of stocks and shackles are a pation ending in the last year of the seventeenth vivid reminder of the lord’s power over his serfs and century. The late-eighteenth-century population tenants, and there is even a photograph of a man map represents the multi-ethnic composition that and a woman set in a pillory. But there are also guild the country acquired as the result of large-scale chests, signs and seals—a testimony, among other repopulation programs and internal migration. things, to at least the possibility of mobility: from Nearly half of Hungary’s fifteen million inhabi- peasant, to journeyman, to craftsman. tants, the statistical tables tell us, were non-Ma- Room 3, depicting the diverse ways that the peas- gyar at the end of the nineteenth century. antry made a living, is perhaps the single largest unit

68 For place names and regions, see the maps and the Gazetteer Exhibitions 69 Exhibitions (broad- posztó (frieze-coat) (frieze-coat) tailoring, and fur- szûr hanging next to the workbench. The , a frieze overcoat bedecked with embroi- Detail of frieze-coat tailor’s workshop. Photo: Detail Erzsébet of Winter, frieze-coat tailor’s of Museum Hungarian Ethnography. Rooms Rooms 4 and 5 present just the most typical of cloth) weaving, of all the exhibits the most distinctive Perhaps riery. is the frieze-coat workshop, tailor’s with a finished cifraszûr cifraszûr motifs, was, for gen- (or sewn-on) Hungarian dered erations, worn by peasant men on festive occasions. wear one in the To late howev- nineteenth century, was er, to make not just a fashion statement, but a political statement as well, for the folk motifs had made it a symbol of Hungarian national resistance the wide range of handicrafts practiced in every nearly market town: woodcarving, black- carpentry, smithing, pottery, textile weaving, deals with the three most important areas of home food processing: the processing of meat, milk and grain. It is evident (churns and meat-salting tubs from hewn of a single tree both the implements trunk, for instance) and the used as mill) that the procedures hand-turned stone technology (e.g., a late as the beginning of this century perpetuated a great many archaic The elements. display also gives an idea of the traditional diet its constants peasantry, and of social variations. the Hungarian Photo: látófa. , or lookout post For place For names and regions, see the maps and the Gazetteer látófa We We also see some clothing and personal objects Processing the produce has always been a crucial Detail Detail of the extensive agriculture exhibition, with dug into the ground in the middle of the prairie—a single post with asymmetrically-placed pegs for the herdsman to climb up on, and keep an eye on his straying cattle or sheep. on exhibit: these, as much as the gear and imple- social and circumstances everyday the reflect ments, position of the peasants who supported their families as farmers, herdsmen, trappers, beekeepers, and fishermen. 3 Room of rest The farming. subsistence of element of the each exhibition. other Facing on the two sides of the contrasting methods enter are as we of the hall agriculture that emerged as a matter of geographic and historical necessity: intensive agriculture, which had its origins in the farming methods of medieval Europe; and extensive agriculture and the seasonal migration of livestock and herdsmen, which developed in the Great Plain in the wake of the destruc- “tools the of Some wars. Turkish the by wrought tion of displayed the here are brilliant trade” in their sim- is, plicity: for there instance, a Erzsébet Winter, Hungarian Museum of Museum Hungarian Ethnography. Erzsébet Winter, f h snl ro ta gnrly opie the comprised generally that room single the of corner” “kitchen the dominated source) heat a and large whitewashed brick stove (used both as an oven well-off peasantry. The tious core of the newfangled housing favored by the tisztaszoba a Sárköz, the from and times; medieval from little the Ôrség, attesting to a lifestyle which had changed mid-nine- a the century: teenth roughly from interiors home ant year.entire the for fairs national the of date and place the gives 1890s the from notices of set a whole advertised: widely were and world, the of thing some- see to opportunity an were particular in fairs National education. and culture analysis, final the penny dreadfuls and booklets on the occult), and, in information and (though what really sold at the book stalls news were lurid popular), were peteers selves. Fairs were also sources of entertainment (pup- and tradesmenwhatever theycouldnotmakethem- craftsmen from procured and there, produce plus sur- and animals their sold peasants townsmen: met villagers where were fairs and Markets bustle. and hustle the feel crowd, jostling the hear can practically One scenes. market and fairs of photos giant demonstrates. well 8) and 7 (Rooms interiors home peasant and wear, peasant of metamorphosis the as taste, ular pop- of formation the in general— role major a play to came in handicrafts demand, motifs—indeed, of these growth the With region. a particular of motifs unified stylistically the to themselves known the of cifraszûr most though inspiration, new were Fairs another place that even master craftsmen could find years. journeyman their throughout so do to continued and already, years apprentice cifraszûr ment. govern- Austrian the by subsequently,banned was, during the War of Independence of 1848-49, and it Exhibitions 70 70 The next two rooms present two antipodal peas- antipodal two present rooms two next The Exhibitionswith busy is 8 and 7 Rooms into leading hall The draw and collect to began tailors Frieze-coat motifs in their pattern books during their during books pattern their in motifs pattern books show them to have limited have to them show books pattern “pc-n-pn om) te ostenta- the room”), (“spick-and-span füstös ház füstös füstös ház (“smoky house”) from house”) (“smoky For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace had no chimney: a life, gives marriage pride of place. of pride marriage gives life, of stages various the to ascribed system value ant unit, The organized to 12. reflect the relative weight and that the peas- 11 10, Rooms in displays the 9. Room in display on treasures the among included are pieces earliest the of beautiful most the of some “folkart”; be to ered consid- generally are objects These process. the in styles regional distinctive created and cloaks, herds’ shep- sheepskin and overcoats frieze embroidered and fabrics, woven colorful pottery, glazed rative ket towns “mass produced” painted furniture, deco- mar- and villages in Handicraftsmen environment. home their of part as treasures these display to and taste, their to things beautiful buy to afford now could too, folks, century.Village nineteenth the of end the to eighteenth late the from living of dards stan- peasantry’s the in rise steady the of part was occasions. special very on use formal for and one’svaluables, off showing two and for other the in, living chimney and cooking for one rooms, a having house the on icated house. The “From Cradle to Grave” sums up the subject of subject the up sums Grave” to Cradle “From The introduction of chimneys and the extra room Photo: Erzsébet Winter,Erzsébet Photo:Ethnography. HungarianMuseumof century.19th the of half first Ôrség, the from Interior tisztaszoba , on the other hand, was pred- Exhibitions 71 Exhibitions feasts The last room of tices associated, in beliefs and prac- flects the wealth of traditional folk cul- the exhibition re- ture, ture, with the as late as the 1920s. the as late as ing” in the villages in “white mourn- erly could be seen mourning. The eld- mourning. by by old women in and was even worn years years of relative ease, clothing of these last the typical (summer) Off-white homespun was homespun Off-white through through a lifetime of toil. the respect they had earned the respect u, Romania), completed, as Old Old people were accorded Ø period under consideration. among the peasantry in the for child mortality was high not necessarily precede the other, the precede necessarily not The last room of the unit deals with old age, and death. One did Gyalui Gyalui Asztalos. carpenters Lôrinc Umling and János by by the Kolozsvár (Cluj-Napoca, Romania) painted choir and pulpit, masterpieces made painted choir and pulpit, masterpieces nious whole with the roughly contemporary Most Most of the exquisitely painted wooden church interior that forms the setting of the cer- “marriage prominent the by salvaged was 11 Room in emony” art historian Dezsô Malonyay at the beginning of has it restoration, years of careful After this century. finally been made available to the public The here. coffered ceiling from the Magyarókereke (Aluni Calvinist Church in looked their fill that the trousseau was taken in pro- in taken was trousseau the that fill their looked cession, in carts bedecked for the occasion, over to house. parents’ the groom’s one of the panels tells us, in 1746, forms a harmo- A mummer as dressed a goat from the Hajdúság, early 20th century. of Museum Hungarian Ethnography. Photo: Erzsébet Winter, special For the For a peasantry, wed- Traditional Traditional peasant societies had communal custom in Kalotaszeg cal- Kalotaszeg in custom that just insure to culated was to take the —already trousseau entire bride’s on display inside house—out into the yard the or the street during the church ceremony. It was only after everyone had norms regulating the life of the individual from the day he was born to the day he died. Appropriately enough, the exhibits dealing with childhood show do place—and the take to trained was child the how the jobs—traditionally assigned to people of his or Though some are there out-and-out in toys her sex. the display—rag dolls and corn-husk dolls, doll’s furniture, a baby rocker in the shape of a hobby- horse, and a wonderfully functional baby stand— there are also some sobering child-size work implements, which, were obviously, not used for play: a loom, for instance, child’s and a child-size wooden pitchfork and shepherd’s crook. Clearly, the goal was for young people learn to every traditional by work customs the all and process the time they married, that they so might start out in life as full-fledged members of the village community. ding was the ultimate celebration: nothing was too good for the bride display lavish the as groom, and from Kalotaszeg, a region renowned for its folk art in century mid-nineteenth the already, well illustrates. Brides and their parents vied with each other in holding a wedding the neighbors would soon forget. not One esn; h hmsu Ntvt pas f the of (M Andrásfalva of plays Székelys Nativity homespun the season); festival pre-Lenten the during primarily performed masked and dressed as horses, goats and storks, who rite); fertility a of originally, kind presents: small for exchange in well people wishing Christmas, after day the house to the Hungarian peasantry of the period. Advent was Advent period. the of Hungarianpeasantry the of lives the in did it indeed as Room13, in displays pre- rites). fertility and vitality Christian to back harked that custom table—another Christmas set beautifully the under straw and hay grains, food, implements, household other and ing farm- placing of table”practice “Christmas (the the like customs Westernin and influences Eastern cultural of the Church calendar. We Exhibitions 72 Attila Selmeczi Kovács Selmeczi Attila Budapest. 1981; Budapest. works: Major arts. folk and ethnography Hungarian of history implements, and husbandry pest. 1993; pest. The Christmas cycle figures predominantly in the

Exhibitionsregölés (boys and young men going from house from going men young and (boys Kézimalmok a Kárpát-medencében a Kézimalmok A magyarországi olajnövénykultúra magyarországi A állatalakoskodás (1942- ) Fellow of the Hungarian Museum of Ethnography. Main interests: folk interests: Ethnography.Main of Museum Hungarian the of Fellow ) (1942- see a unique amalgam of ± neu For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace µ , oai) and Romania); i, (mummers [Hand-mills in the Carpathian Basin]. Budapest. 1999. Budapest. Basin]. Carpathian the in [Hand-mills [The culture of oleaginous plants in Hungary]. Buda- Hungary]. in plants oleaginous of culture [The ipa ae l fo Adáfla (M Andrásfalva from all are display on masks shepherds’ comic and props, clothes, the plays: mystery complete most the on put eighteenth century) the of half second the in there settled Székelys ofBukovina (anethnicMagyar group who story.Nativity the The of version comic local their touch, a with but devoutly performing, house to the of time the church service on Christmas Day.Christmas on service church the attend to was period, the of close the at season, even Christmas the of of highlight villages the the Hungary; in development recent rather a is ding branch above it. The custom of giving presents bud- a suspend and tablecloth, Christmas beautiful straw,with freshly-cleanedfloor a with table the lay puppet theaterwithallthepropsforanativityplay. a exhibit: unusual rather a also is ThereRomania). The custom was, on Christmas Eve, to strew the strew to Eve, Christmas on was, custom The Bethlehemers , who went from house from went who , Györffy István Györffy ± neu µ i, . Hungarian Heritage Volume 1 2000

The Szentendre Open-Air Museum of Ethnography MIKLÓS CSERI (Szentendre)

Founded on February 1, 1967, the museum of folk culture in Szentendre is the second-largest ethnographic museum in Hungary. Initially, the outdoor complex was run as a department of the Hungarian Museum of Ethnography. In 1972, however, it became an independent national institution, author- ized to build its collection from all over the country. The museum was founded with a view to pre- senting to the public the folk architecture, home interiors, occupations and lifestyles typical of the peasantry of Hungary’s villages and the craftsmen of its market towns, using only original samples for the exhibits, the buildings themselves being mid-eighteenth to mid-twentieth century structures relocated to the Szentendre site. The Kisalföld, with the village church of Mosonszentjános (Gyôr- Long-term plans call for locating over 350 build- Moson-Sopron County) in the foreground. Photo: Péter Deim, ings on the museum site, grouped to represent nine Szentendre Open-Air Museum of Ethnography. different regions: the Felsô-Tiszavidék; Upper Hungary (Felvidék); Northern Hungary; the its way. An outdoor “Stations of the Cross”, a ceme- Central-Tisza region; the Great Plain (Alföld); the tery with traditional carved tombstones, and sever- Southern Dunántúl (Transdanubia); the Balaton- al mills and wineries help make the Szentendre felvidék; the Western Transdanubia (Dunántúl); complex a “living” museum of folk culture and and the Kisalföld. Each of the nine sets of buildings social history. will be arranged to reflect the traditional layout of As compared to its Scandinavian and Western the villages of that particular region: some repre- European counterparts, the Szentendre Open-Air sentative peasant homes (the house, barn, tool Museum of Ethnography is a rather recent institu- shed, etc. arranged in the pattern typical of the tion. This very recency, on the other hand, has region), a church, commercial buildings (general enabled its curators to avoid certain of the pitfalls store, smithy, workshops), and communal facilities that have beset some of the earlier museums of its (school, fire station, communal well). To date, three kind, pitfalls having to do with the historical of the planned building complexes have been com- authenticity of the ethnographic samples, and the pleted—the Felsô-Tiszavidék in 1974, the Kisalföld relocation and reconstruction of the selected build- (1987), and Western Transdanubia (1993); the con- ings (the Szentendre museum uses only contempo- struction of the Great Plain market town is well on rary building techniques and materials).

For place names and regions, see the maps and the Gazetteer 73 Exhibitions 74 eid untr, ol, etls eeya objects everyday textiles, tools, furniture, period with furnished been has dwelling every and Each included structures. auxiliary which other and complex sheds, work barns, coherent a of part as being rebuilt not dwellings in isolation, but as they originally stood: peasant the with region, ticular par- the of typical structure settlement the reflects buildings the of arrangement The Museum. Air Open- Szentendre the in display on put been have the and century nineteenth the of architecture market-town and village the of ants years hundred later. It a is, essentially, the flower most typical regional vari- full into came and tury, the ed to unfold around the turn of the eighteenth cen- register and Europe, regional variations, the building trends Eastern which start- of parts of ing types various the Hungarian-speak- the throughout identify found dwellings to was work the endre outdoor museum complex. The first phase of Szent- the of building the into gone has that thing every- behind criterion professional principal the is Open-Air Museum of Ethnography.Museumof Open-Air P County). (Szabolcs-Szatmár-Bereg Kispalád and Felsô-Tiszavidék:Botpalád The from Houses Exhibitionsauthenticity ethnographic and historical Indeed, hoto: Péter Deim, Szentendre Deim, Péter hoto: For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace fin-de-siècle that about how its inhabitants lived their day-to-day lives. day-to-day their lived inhabitants its how about something revealing to view a with the placed is in house artifact every processed—indeed, were rials contain clues as to how food was prepared kitchens and how raw mate- The in. engaged be might family family special occasion, and some identify the kind of cottage industry the for are be would objects they as The grouped occupation. and his standing, “householder”, social the of affiliation religious and ethnic the primarily reflect always furnishings The “lived-in”a for make look. and building, the up dress all wood kindling even baskets, and stoves and windows, doors, bins storage utensils, household and tools tablecloths), bedspreads, pillows, (curtains, tiles tex- the furniture, furnished. The buildings its of one every has complex museum Szentendre Western the Europe, and Scandinavia in museums open-air er historical andethnographicauthenticity. Unlike earli- technology.original the using installed units cut to the same size, finished the same way, and the used, originally was as wood same the of beams with replaced been have structures wooden tegrating Termite-infesteddisin-structure. and and form size, original its to building each restored have and on, tacked were that parts the and alterations the away use. Wein werestrip then that to materials had have the the using time, of point specified in a at had they form reconstructed but found, in were condition they the which in not been museum the have in installed buildings selected The techniques. building and materials authentic of use the entails on). so and dirges, singing wakes, holding meals, family serving laundry, the doing sils ofthefamily’s day-to-dayrituals(bakingbread, uten- customary the with as well as trade, or craft “owner’s”the of tools the with furnished particular being homes the town, market or village particular a in time particular a at lived was it as life of tion cross-sec- a but buildings, of collection a just not is thus, museum, The inhabitants. the of ethnicity and affiliation, religious status, social occupation, the to according occasions, festive for objects and unsig ae nte iprat opnn of component important another are Furnishings necessarily exhibition the of authenticity The Exhibitions 75 [The Exhibitions Ház és . TÉKA [The Folk Archi- A Nyugat-Dunántúl A Balaton-felvidék népi [The Folk Architecture of Western A Dél-Dunántúl népi építészete [The Folk Architecture of the Balaton- [House [House and Man], have appeared to date. The Felsô-Tiszavidék, Greek Catholic Greek The church Felsô-Tiszavidék, and cemetery. Ethnography. of Museum Open-Air Szentendre Deim, Péter Photo: A Kisalföld népi építészete The Szentendre Open-Air Museum of Ethno- graphy was reclassified as a center research in 1981. Eleven volumes of its scholarly yearbook, Ember have We held a series of international conferences, and published the papers presented under the fol- have lowing titles become (which, ver- incidentally, itable handbooks of folk térségében északkeleti Kárpát-medence architectural a építészet Népi research): [Folk Architecture in the Basin]. 1989; Northern Carpathian planning its furnishing, and for projecting the cultural and/or educational uses to which the building and its immediate environment can be put. Only in the light of all this is the appropriate building location on the reassembled museum site, conserved, at the and furnished with restored and conserved artifacts, ready to receive visitors to the museum, the tangible witness to the culture and customs of a bygone age. Folk Folk Architecture of Southern 1991; Transdanubia]. tecture of the Kisalföld]. 1993; népi építészete Transdanubia]. 1995; and építészete felvidék]. 1997. The museum also gives a regular accounting of the details of the work being done in its popular scholarly periodical, the For place For names and regions, see the maps and the Gazetteer hoto: Péter Deim, Szentendre Open-Air Authenticity Authenticity characterizes also the layout of each The last decades have given us some proficiency in Western Transdanubia. P Transdanubia. Western Museum of Museum Ethnography. of the completed representative village complexes. The settlement structure of the villages and market towns of Hungary was determined by a variety of historical, geographic, social and Every other settlement, factors. however, erected meet buildings the to community’s various needs: the of Stations chapel, there belfry, (church, edifices sacral were Cross, shrines, synagogue, temple, etc.); educational facilities (school, kindergarten); and other communal facilities (town hall, parsonage, communal well, laundry, fire station, general store, pub, post office, etc.). Only by relocating these, too, to the Szentendre museum site can we give a true picture of the village Hungarian of the turn of the century. relocating buildings earmarked for inclusion in the open-air museum. Ethnographers and architects do a great deal of rigorous research prior move, once to a building the has been actual selected in keeping with the basic museum’s scientific program. It is in keeping with these research findings that the building is disassembled, its components are documented, and transported to the museum site. What we find in the course of taking apart the building is at the heart of build- the which of basis the on blueprint detailed the ing will be reconstructed; it is also the grounds for Exhibitions 76 ils Cseri Miklós lal a psil, h wat o kolde and represent. exhibits knowledgeour that information of wealth the possible, as clearly as communicate, to spared is effort No languages. three in available tours guided and brochures find enjoy.will group age every which grams pro- educational present to made being is attempt Every exhibits. programs permanent folklore the to and complementary workshops craft and art ors in the Szuha river valley]. river Szuha the in ors Életmód in structuctures]. and materials szerkezetek”nobility.[Buiding és “Építôanyagok small works: Major the of lifestyle and architecture the lifestyle, and architecture folk interest: of fields Main ISOM. the of PresidentEthnography, Vice of Museums Open-Air European of Association the of Board Exhibitionswill museum open-air Szentendre the to Visitors on focus growing been has there years, recent In . Budapest. 1997; “Népi építkezés és lakáskultúra a Szuha-völgyben” [Folk architecture and interi- Szuha-völgyben”and a [Folkarchitecture lakáskultúra és építkezés “Népi 1997; Budapest. . 15- , ietr f h Setnr Oe-i Msu o Ehorpy mme o the of member Ethnography, of Museum Open-Air Szentendre the of Director ), (1957- Gömör néprajzaGömör For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace VIII. Debrecen. 1987. Debrecen. VIII. comfort and convenience. and comfort their for provided have to expect everywhere goers museum that facilities the all of advantage taking leisure, their at exhibits the enjoy can visitors our Today,museum. entire the see to hours bit half a and a rest to room six least at needs “therounds”.One doing between ample is there spacious a where onto park, opens museum the to new the entrance and enlarged, been has lot parking The grounds. museum the within shops souvenir and We now have a restaurant, a pub, a general store general a pub, a restaurant, a have Wenow Magyar Néprajz IV.Néprajz Magyar Book Reviews 77 iver- won- ction of his- of ction movements movements and kuruc Hungarian Heritage Volume 1 2000 Volume Hungarian Heritage A folk legend is defined as any of several types of narration of a concrete and in real put form, poetic a in presented event, real, be to believed or of one a standard form, and building on standard motifs. This volume offers the reader beautifully and elaborately formulated texts classic Hungary’s and familiar legends, popular sto- containing some ries connected with the Hungarian Conquest, King of Ladislas, the Saint, King Matthias Corvinus,and Turkish Tatar wars, the the Rákóczi Francis Prince of II, Independence the War Franz Josef of I, 1848-49, and War, the World First Prince and Hungary, of king and Austria of emperor com- who crown the to heir unfortunate the Rudolf, mitted suicide, as well as legends related to the figures of famous outlaws. At the same time, as Ildikó Landgraf points out, the collection proves that it is becoming ever more difficult nowadays to collect uniquely represents the treasury of living Hungarian uniquely represents on compiled was volume the since legends, historical the basis of recent collections by country teachers, clergymen, and other enthusiastic scholars of local Thanks history. to the meticulous work of the collectors and the editor, the reader can also enjoy glimpse a beyond the borders of Hungary since the volume comprises Hungarian historical from the entire Carpathian legends Basin, and a substantial regions from in poured collected material the of part less familiar to folklore scholars. [“People [“People say For place For names and regions, see the maps and the Gazetteer Two important anniversaries in Hungarian history have recently been celebrated. In 1995, Hungarians observed the millecentenaryobserved the Hungarians 1995, In celebrated. been recently history have Hungarian in importantanniversaries Two [“People [“People say that we Hungarians...”: Hungarian Legends]. Historical Edited and with an introduction by Ildikó Land- graf. Budapest: Hungarian Ethnographic Society/Center for 1998. European Folklore. 320 pages. of the Hungarian Conquest, and a series of events continue to commemorate the 150th anniversary of the Revolution Independence and of of War 1848-49. In addition to these, Hungarian ethnography had one more important anniversary the 110th ann marked to celebrate: in Hungary, one of the oldest scholarly societies its Society, Ethnographic institutional forum, the Hungarian first sary of its founding in 1999. In keeping with its traditions, the Society commemorated these anniversaries by publishing three recolle peasantry’s the view, of point specific a from presented historyis Hungarian volumes, three all In collections. derful Thus, the three publications tory. each reveal a facet of the rich treasure of trove historical Hungarian folklore. that we Hungarians...”] is the title of a collection of Hungarians...”] that we Hungarian historical legends published Society by in the cooperation with European Folklore the Institute), ECTC edited and (today with introduction an by Ildikó Landgraf. The competition that in resulted this called volume for a collection of been had that need a met thus and legends historical pro- is reader the Here decades. several for felt sorely vided with a collection of essays that faithfully and “Beszéli “Beszéli a világ, hogy mi magyarok...” “Beszéli “Beszéli a világ, hogy mi magyarok...” Magyar történeti mondák. Publications on Publications Historical Hungarian Folklore Book Reviews

texts in the form of folk legends. Historical legends ferences on a closer reading. For example, there is no are being gradually overshadowed by other narrative agreement as to whether it was out of love or revenge genres: true stories, biographical stories, memoirs, that the girl prayed for the church to sink. In one of and anecdotes. The book, therefore, also contains the more elaborately detailed versions, we learn that several amusing anecdotes as well as some less well- the pregnant sow had disappeared for a hundred formulated stories, personal accounts which are years before it was found with its piglets and the interesting in terms of theme and motif. Stories treasure of the sunken church bell. Certain loan include the one about how Halley’s comet foretold motifs are only loosely connected with the crux of the outbreak of the First World War to the people of the story: in one of the versions the girl turns into a Bezdán (Bezdan, Yugoslavia), how the sunken rider white swan. From other versions it becomes clear appeared in Tornaalja (Tornal’a, Slovakia) in the that the miraculous elements have been substituted Second World War, and how Nikita Khrushchev’s for more realistic ones: instead of the girl being mute half-brother reported himself to the police in Árdány and then suddenly able to speak, the story presents (Ardan, Romania). her as being lame, thus explaining why she could not The two richest and most diverse chapters of the escape from the Tatars in time. Furthermore, the collection are those covering the so-called foundation explanation that the villagers presumably went to legends and those explaining the origin of names. church that day because it was Sunday appears to be These folk legends are the most viable because they in the interest of authenticity. One of the informants are locally bound, provide the community with an even managed to remember the name of the swine- explanation for the origin of such important local herd, and another contributed to the authenticity of natural formations as wells, mountains, cliffs, and the story by being prepared to show the spot where caves, and record important events in the history of the church had once stood and even saying it could

Book Reviews certain families or villages, as well as celebrating out- be photographed. standing local personalities. The distribution and Numerous internationally known motifs and variation of such legends, as well as the transmission themes (sujets) are present in the Hungarian histor- of the narrative elements that fulfil the formal ical legends published by Ildikó Landgraf. The sym- requirements of a legend, are clearly in evidence in bolic acquisition of possessions, the miraculous these stories, of which multiple versions have been birth of a hero, the legend of the self-ringing bells, collected here. The story of “The Sunken Village”, the story of the king in disguise, the motifs of the for example, is presented in seventeen different vari- dry branch coming into leaf and the magic beard, ations in the book. According to the legend, villagers and the appearance of Till Eulenspiegel’s jokes in fleeing from the Tatars into a church refused to allow stories about Sándor Petôfi all indicate that in a mute girl who had arrived too late and who, in Hungarian folklore is closely linked to European turn, prayed for the village or the church to sink. By tradition. Throughout the centuries, international the time the Tatars arrived, a miracle had taken place: loan motifs have been organically integrated into the mute girl was able to speak, and her prayer had the Hungarian historical consciousness and into its been answered. Where once the village had stood, narratives. there appeared a bottomless lake. Later, the lake dried The reader is challenged to join in all manner of out, and a swineherd’s sow found the bell of the intellectual games and make exciting comparisons sunken church, which was so big that she could give when thumbing through the pages of this very rich birth to her piglets in it and so heavy that no bell and substantial collection, a volume that makes for tower in any other village could hold it. delightful reading for the general public. At the same Although the seventeen versions of the legend are time, an editorial policy of philological accuracy, exact very similar, one can discover some important dif- phonological notation, and the indication of dialectal

78 For place names and regions, see the maps and the Gazetteer Book Reviews 79 Book Reviews What makes this volume truly unique is the fact the is unique truly volume this makes What that the majority of the texts were recorded in the recorded that the majority of the texts were period after the Second World War fledgling when Hungarian democracy the was being sup- pressed and gradually replaced by a Soviet-style dictatorship. The reader can well imagine politics how found its way into scholarly research. In numerous cases one can sense political timeliness the or sources oral from collected texts the behind intention of the collector or ethnographic record data that the verify the “progres- informant to related related to the person of Lajos The Kossuth alone. considerable holdings of this “centenary collection” of 1947-49 are stored in the Ethnological Archives of the Hungarian Museum of graphy, Ethno- and it is from this collection of scripts that manu- Ákos Dömötör has selected the as yet unpublished legends and recollections for volume. this The collection was pieces extended, of folk to poetry, less formal stories, recol- beyond lections, and other data, because ethnographers were forced to realize soon that among the variants originating in oral poetry there were many short, one-sentence utterances without any aes- importance special of were which but value, thetic and transmission of process the understanding for variation. The dividing lines between genres are recollections. of volume this in unclear rather also Classic folk legends are mainly related standing to out- figures, such as Sándor Petôfi, the Lajos legendary poet of Kossuth the War of and Independence, or to Sándor Rózsa, the famous outlaw leader of the time. It is worth comparing these stories with the earlier legendary tradition connected with King Matthias Corvinus, or the legends associated with the Francis Rákóczi II figure to see how of many loan motifs Prince and miracle stories familiar from other appear sources in all of them. Also in evidence are some less widely-known and established stories, albeit adven- the about example, for ones, realistic more tures of László Donáth, the infamous spy, about how and the cruel General Julius Haynau was Damjanich. János General executing for punished For place For names and regions, see the maps and the Gazetteer Hôsök és vértanúk [“People [“People say...”] revives “Beszéli “Beszéli a világ...” [Heroes [Heroes and martyrs: Legends and recollections of the war of independence]. Edited and with an introduction Budapest: Dömötör. Hungarian Ethnographic 1998. Society. by Ákos 151 pages. While Hôsök és vértanúk. Mondák és visszaemlékezések a szabadságharcról features features also makes this publication a valuable source for scholars of ethnography. Ildikó Landgraf’s thor- ough introductory essay on the history of research in this field, replete with a survey of past arrange attempts to and interpret legends, serves to reader in his or her further orient reading. the the entirety of Hungarian history the of our entirety before Hungarian eyes, the other collection entitled [Heroes [Heroes and martyrs], edited by Ákos Dömötör, provides a sample of the epic stories and recollec- On 1848-49. of Independence of War the of tions the occasion of the centenary of this war, there was a wide-ranging movement initiated to collect this sort of 430 about from material. gathered was data alone, Hungary From the territory of villages. The richness of the tradition connected outstanding its and Independence of War the with figures are clearly shown by the fact were that approximately 1600 data there entries and stories of belonging among various communities. various among belonging of sense the strengthened that still, stories the were these heroes; stereotype are stories the of acters often history provides only a setting and the char- into fully developed stories. In these historical legends, mature recollections and events one-time of reports which in process complex the reflect the after SecondWorld Hungary War. “liberated” who soldiers the War crushing Sovietthe and Independence of in assisted who Russians the of both around up ate they how that’s grew images popular horrific Comparably and them.” ground the to them threw too.They pumpkins, raw the ate they and other,each to them tied and tits their by women pub- the grabbed Russians now,“The until e.g., lished been not have of 1848-49 War of the Independence on data ethnographic certain why today clear is it Certainly,peasantry. the of role historical the of nature revolutionary” and sive Reviews Book 80 nép a emlékezete szabadságharc A vitézség. nagy Magyarország in y uz Tr. uaet Hnain Ethnographic Hungarian Budapest: Society,pages. 186 1998. Tari. Lujza by tion introduc- an with and Edited Songs]. Folk in Independence dalaiban Book here presented legends of collections Both Reviews O ain Hnay Mmre o te a of War the of Memories Hungary: Valiant [O For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace historical survey in which the reader is informed of informed is reader the which in survey historical and cultural short a by preceded is type tune every possible. versions accurate and authentic most the provideorderreaderwith to the in students, their Kodály,and Zoltán Bartók, Béla of collections music folk the on foremost and first relying music, sheet older with compared always were recordings tape on based notations purposes. Musical practical other for and schools in ume vol- the of use the facilitate to effort an made also has and sources, music folk editing current for guidelines followed mainly has editor the material, this of publication the With publications. porary contem- from music sheet with supplemented ther fur- is and Sciences of Academy Hungarian the of Folk Music Archives attheInstitute forMusicology the in stored music folk of collections earlier from variations. their and stanzas different thirty than more with tions, varia- different seventeen in tunes of groupings four Tariin Lujza the by presented is type, song, Kossuth best-known the Probably types. tain cer- of diversity the indicate to variants the lists and tunes of types twenty-four introduces tion publica- The was. 1848 of repertory musical the most eloquent testimony of how colorful and rich the giving diversity, musical this presents book culture. musical The peasant into integrated were peasantry, the of tastes the suit to altered being after others, time, of course the in forgotten ally gradu- were songs country.these the of Someout national the and spreadmarchesthrough-also guard, instrumental soldiers of songs musicians, Gypsy by popular made tunes plays life, village period, about this in learned songs fashionable traditional folksongsandinstrumentals,new examine Besides to 1848-49.” in singing and were people “what songs, of folk War in the Independence of mementos indicates, volume the of subtitle the as present, to attempt an made vitézség nagy called music folk on work her In hns o oe antkn rsac, ah and each research, painstaking some to Thanks comes material published the of majority The [O Valiant[O Lujza Hungary],Tari has Magyarország Book Reviews 81 Book Reviews in cooperation with the with articles on archaeolo- ACTA ALUTA is a series of museum annuals with a wide In In 1995, the museum launched a new series of In In 1968, the institution published a series of Its present-day monumental central building was building central monumental present-day Its ACTA annuals entitled annuals entitled natural sciences, gy, museum studies, and ethnogra- publica- The bilingual (Romanian–Hungarian) phy. tion with its 18 issues is still the ethnography. source for scholars Transylvanian of most important designed in 1911-12 by Transylvanian architect the of his most age, the charismatic polymath Károly Koós. The institution took possession librarya are: departments Its 1920. of in building this and archives, an archaeological and collection, numismatic as well as ethnography, fine arts, and geography sections. In 1929, the museum marked the fiftieth anniversary of its founding foun- its Since essays. of collection a of publication with the dation, numerous scholars of circles Hungarian and internationally have worked renown both in Székelys the of land the in creating walls, its within one of the most significant centers of research and learning in Transylvania. remained the most The important among the scholarly museum has workshops formed in Székelyföld even after 1989 elections in Romania. the of collecting and displaying museum pieces from the from pieces museum displaying and collecting of well as Udvarhely, and Csík, Háromszék, of counties as promoting the scholarly life of the region. Székely Museum in Csík. In doing so, the publish- follows: as journal their of character the expressed ers “ spectrum of publication topics, reflect- a ‘federative’ ing the polycentric nature of the region, which has set itself the task of regularly reporting on the scientific, historical, and ethnographic done research in being the historical southeastern border from an infor- and especially in (Taken Székelyföld” region mation leaflet on the ACTA museum annuals pro- contin- annual, The authors). contributing for vided ually published in two since volumes 1996, is divided into five thematic sections: (1) Natural Sciences; (2) Archaeology; (3) tradition- Documents; (covering Museum The (5) and History; (4) Cultural ). Réka Kiss ALUTA ALUTA XXI IV and For place For names and regions, see the maps and the Gazetteer ACTA ACTA Hargitensia 1997. I-II ( These three books recently published by the A Székely Nemzeti Múzeum és a Csíki Székely Múzeum Évkönyve Múzeum Székely Csíki a és Múzeum Nemzeti Székely A and the Székely Museum [The Annual of the Székely National Museum at Csík]. Edited Managing and editor: arranged Ádám by Kónya Hunor T3 györgy (Romania), 1998. 345 and Boér. 299 pages respectively. Publishers, Sepsiszent- The first museum in Székelyföld, ‘the land of (Erdély), now part the an Székelys’, Transylvania area of of Romania, was founded in 1879 out of a private collection donated by the of widow János At Cserei. its founding, the museum took upon itself the task ACTA Hungarian Hungarian Ethnographic Society all testify to the oral tradition and the diversity richness of historical of Hungarian historical They folklore. also demonstrate how this oral tradition has changed in past hundred and the fifty years and how this heritage has become integrated into the common European cultural tradition. the origin of the tunes and lyrics, the date they were they date the lyrics, and tunes the of origin the first put to and paper, the contemporary references to them, as well as their subsequent popularity and currency. um studies). The latest issue in the series, the in issue latest The studies). um muse- as well as fields related and ethnography al Reviews Book 82 of rank noble the conferring in entailed is what on data additional 1655. The special merit of the work is that it provides in Plojesti near campaign military his in fought who Székelys the to II Rákóczy George by issued patent letter a published Ministry) InteriorRomanian the of of Székelys the Orbaiszék”, to CostinFenesan (oftheNational Archives II Rákóczy George from 1655 Museumsections. and History Cultural the in volume, second the in put were ethnographers to interest greatest of pieces The 1998. in published was II, and I vols. 1997, peasant social relations. We also learn that prophe- that learn also Werelations. social peasant and class middle and life, rural conditions, nomic eco- contemporary on data of plethora a provides he skills, observation excellent his to Austro- Due century. 19th the the of half first the traversed in Monarchy Hungarian who geographer” folk and “traveler true a was adventurer This ographies. autobi- peasant of group early an of part is it and Romania), (Aninoasa, Egerpatak of (1810–1895) Balykó Elek of autobiography the is this fragments, in published manuscript A Balykó.” TravelsElek of centuries. 19th and early 18th late the in parish the of history logical chrono- a presents piece The historians. local for data valuable also are them on inscriptions old the ings destroyed of1802aswell by theearthquake build- church of presentation of The services. church order the on as well as boundaries, of use the and methods building on information with vided pro- are we view, of point ethnographic an From Antal Szabó(until1833)andIstván Uzoni Zajzon. this Calvinist parish. It was written by local pastors, of events important most the down setting 1873, 1801- between period the cover which manuscript 84-page an of form the in are introduced records Feltorja.”in Church Reformed The the Recordsof history.family specific its for significant also In entitled“A hisarticle LetterPatent fromthe Year Zoltán Székely and Anna Lénárt, “The ZoltánWondrous Székelyand Anna Lénárt,“The Book Nineteenth-Century “The Tüdôs, Kinga Reviews lófô székely lófô , and at the same time it is it time same the at and , For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace ACTA h piaiy oes rils n itr, folklore, history, on articles covers primarily phy bibliogra- The limited. rather are accessibility and dissemination their both so places, different very like today, publications in the field have just appeared in past, the in because important especially is It aspects. many from examined region ethnographic this of sources published the collects it that fact the in lies piece this of value special The I.” Romania) (Rimetea, Torockó and Romania), (Turda,Torda late. researchtoo is it before historical and cultural of benefit the for sources documentary these disseminates it that is work the of merit special occupations. The to refer that tombstones the on marks and signs the lyzing line of the cemetery groundplan indicating and ana- out- an provides he appendix the In drawings. and photographs by accompanied also them of many tombstones, nineteenth-century to eighteenth- of descriptions social the presents and author The structure. family community’s the of accurate mapping an toward documents official the ment supple- greatly stones the in engraved pithy statements The ago. years hundred three to two town mining this of conditions cultural social, and economic, the reflect faithfully Torockó Romania) of village (Rimetea, the of cemetery Birgej the in inscriptions gravestone The Romania).” (Rimetea, text. the edited have to claim not do publishers its and WanderingSzékely”, a of “Memories is uscript man- the of title life. ownoriginal record his The to not determine what prompted this fascinating figure can- we publication present the From read. good a is it all, in all phrase; of turns humorous with laced inter- and style, in popular entertaining, but simple is language His 1895. year the supplemented in facts certain further with he which 1882, in and parts, 1878 two in memories his recorded He tices. prac- healing traditional on on information passed valuable also He life. his of end the near magic furthermore, a believer who came to know the of art important role in the life of this folk author. He was, an “omens”played bad and good and visions, cies, ims ezg “ilorpy f Aranyosszék, of “Bibliography Keszeg, Vilmos Torockó of Gravestones “Old Vincze, Zoltán Book Reviews 83 Book Reviews Gábor Dániel Ozsváth . Its motifs and the techniques festékes [Traditional women’s roles: Women in roles: popular Women culture women’s [Traditional lórban and in folklore]. Selected Budapest: Hungarian and Ethnographic Society and edited Ministry of by Imola Social Küllôs. and Family Affairs, Secretariat 1999. 320 pages. HUF 1560. for Women’s Issues. Hagyományos nôi szerepek. Nôk a populáris kultúrában és a folk- In summary, I think it is safe to say that although I think summary, In this series of museum annuals undertakesthis series of museum the repre- sentation of several disciplines in work, it one has collective developed into the most forum for ethnographic literature in prestigious Székelyföld. One One of the most characteristic objects of folk art in any Székely house in Csík is the Székely dyed carpet known as employed to produce it exist in a number of differ- lies carpet this of uniqueness The areas. linguistic ent in the choice and distribution of dyes, as well as in the peculiar harmony of decorative patterns. It is a special merit of the paper that it classifies and presents the decorative elements of this type of carpet using in the Csík. collection of the Székely Museum ) of Csík regös ) from Csík in Csík from ) For place For names and regions, see the maps and the Gazetteer festékes dure, Romania), Aranyosszék Romania), dure, ± , a popular mid-winter custom of custom mid-winter popular a , dure, Romania) and Aranyospolyán Romania) dure, ± ), first put into the focus of religious of focus the into put first ), regölés táltos nmihaiu de P de nmihaiu ± nmihaiu de P Irén Farkas, “Dyed Carpets ( Carpets “Dyed Farkas, Irén Tünde Komáromi, “Casting Spells in Szentmi- Imre Harangozó, “A Székely Holy Man, László János Szôcs, “Old Folk Minstrels ( Gyôzô Gyôzô Zsigmond, “Place Names in Szentmihály ± (Ciucani, Romania).” Based on his own research in this of author the literature, scholarly the and archives article successfully disproves the opinion held so far artof the that folk minstrelsy, was unknown in Based the on his Csík archival Basin. sources from the turn 17th and of 18th centuries, János Szôcs the proves the existence of this magical heathen Székely people and presumes that it was fertilitycommon. rite of the the Székely Museum at Csík (Ciucani, Romania).” (S Romania).” (Poiana, Not unlike the compilers of the previous works, the author of this article also leads us into an important area of research It is methodology. common knowledge that place names bear meaning- ful information on social and economic history from which conclusions can be drawn about before the conditions times of living memory. (S hály The author County.” of the article describes a general phenomenon from a point folklorist’s of view, that of casting spells with an “evil eye”, here on the focusing village in the title. Bálint I of Oroszhegy sim- of type this on literature (Dealu, the enriched has paper Romania).” This ple, devoted, Christian man, the Christian priest- ( magician Kálmány Lajos of research the through ethnography and later Sándor Bálint. The name of Oroszhegy (Delau, Romania) in the county of Udvarhelyszék has been added to the imaginary map of small and deeply devoted Catholic villages that nurture their own zealous seer-leaders in crisis situations. and ethnology, and so ethnology, it would be truly complete with the addition of information on pieces about literature and natural science. Beyond this, the publication is an important initiative that, in spite of the painstaking work it requires, ought to be used as a model for other areas, too. Book Reviews Book 84 Folklore, on conference academic an held Society Ethnographic Hungarian Arts). Creative the in Roles alkotómûvészetben title the under 1997 in Debrecen in published were ference con- the of proceedings Budapest. The in Museum Petôfithe conferenceat fruitful a held gists Literary sociolo- and historians, art scholars, literary 1996, In well. as Hungary in foreground the to brought sciences. social the of in ground field gained the gradually in has Women’s research Studies why reasons the of one being this women, of roles social and lives private the in foremost and first place taken have changes century,last Inthe expectations. role gender radical of labor re-evaluation sudden of a and division sexes, the the between in change rapid family a the model, of transformation the systems, value coexisting many great a experienced and nessed the social changes that have occurred may provide may occurred have that changes social the of study systematic the as well as phenomena these among differentiations regional and ethnic the and historicity The women. to are they than way ent differ- a in men to tied are expression of forms and modes and forms, art products, cultural that fact the is known widely Also topics. research make excellent roles gender between distinction sharp the Family and Social of Women’sfor Secretariat Affairs, Ministry Issues. the of support financial the through possible made was book the of publication The Küllôs. Imola folklorist by ed volume.) This the conference was organized and the of volume edit- end the at the found be on can authors information background providing list a as well as conferenceprogram (The essays. of tion collec- a as published were 25 presented, papers 48 the of And historians. and psychologists, scholars, literary by also but folklorists and ethnographers In April 1997, the Department of Folkloreof the Department of the InApril1997, been has topic this years, several past the In wit- have we century, 20th the of end the At h gne dvso i taiinl oite and societies traditional in division gender The Book Reviews where papers were presented not only by only not presented were papers where zrp s loá. ô seee az szerepek Nôi alkotás. és Szerep oe i Pplr utr ad in and Culture Popular in Women Rls n Cetvt: Women’s Creativity: and (Roles For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace contains eleven essays. ImreKatona’sessays. eleven contains focus- study wars. world two the between formed County) (Pest Ócsa of ciations women roles what played, orwere allowed toplay, inthevillageasso- and system marriage mous Csíkszentdomokos of (S village the how Transylvanian are here explored questions The tury. to the historical and social changes of the past cen- reacted has culture rural how examine essays ther of two Transdanubiancommunities. TwoGypsy fur- strategies adaptation the and values moral of system the analyses and childbirth) during uttered prayers and (curses published before never texts semantics involved. Balázs Gémes presents folklore social complex the and midwife, the of that job, essay women’stypical a of Another duties manifold the explores women. contemporary of the parts on matters sexual in ignorance and lessness defence- incredible the demonstrate example, for communities, (Alföld) Plain Great 19th-century society.larger 18th- the from in documents Court and family the of community smaller the in both dealwithwomen’stain historicalperspective, roles volume. the of editor the by areas major three into divided traditional been has to roles women’s approach interdisciplinary general. The in history cultural of scholars for as well as field the in scholars for challenges new provide and studies, gender in horizons new open projects, research independent mutually earlier, of findings ethnography andfolklore becausetheybuildonthe of study the in forward step significant a represent entitled essays of collection and conference activity.The of socio-ethno- the fields and women’stasks in of everyday study graphic as well as women of giosity reli- and life religious the and sexuality female of fields the in especially results, remarkable achieved women. of spective per- the from insights scholarly significant and new hpe to called two, Chapter cer- a using also chapter, first the in essays The has ethnography Hungarian 1980s, the Since ± dmnc Rmna aadnd t endoga- its abandoned Romania) ndominic, Women in Popular Culture and in Folklore in and Culture Popular in Women okoe Ltrtr, Art, Literature, Folklore, Book Reviews 85 Book Reviews Márta Fügedi Unfortunately, this publication is not being dis- being not is publication this Unfortunately, This collection of essays with its graphics and tributed through regular bookstores; it is, however, available at the main office of the Hungarian Ethnographic Society (Hungarian Museum 1055 Budapest, Kossuth tér 12). Ethnography, of black-and-white photos not only represents great scholarship but is also pleasing to the is eye. It an important contribution to the international body of research on the social and historical development culture and of status, women’s all the more because its English-language introduction information on the con- table of contents provide and tent of the volume for non-Hungarian readers as well. The authors and editor hope that this book scholars among studies women’s promote also will of cultural Hungarian and social history. László Séra’s survey of psychological research proj- research psychological of survey Séra’s László ects examining the differences between the two biological sexes in their abilities to orientate spa- arche- the Hera, goddess the on study the or tially typal Wife, by Ágnes super- and taboos, prohibitions, into delve studies Szombati. Two folklore stitious customs associated with into glimpse a As the women”. of “conditions unclean clean and cultures distant in time and space, the end of the chapter is devoted to women the characteristic of Old roles Testament Hebrew and types society, those of of ancient India, and those of the black African Bambara nation and also the covers folklore the in depicted are these which in manner of these peoples. For place For names and regions, see the maps and the Gazetteer The third chapter of this collection of essays paints a colorful roles picture of specific women’s from the perspectives of psychology, mythology, and popular belief. It is highly instructive to read es on gender relations Hungarian popular in poetry in general, various while two genres of young folklorists manage to prove analysis through of an a specific genre, the mourners’ song (comparing mourners’ songs for the dead those with for the bride at genre is her about women and for women and is per- wedding), that this formed almost exclusively by Küllôs addresses an women. exciting topic in her analysis Imola of the male-dominated system of moral and social values norms reflected in 16th-18th-century popular poetry and folklore (in poems mocking women, women’s songs of complaint, songs warning of and instruction for wedding feasts, and poems offering marital advice). According to literary historian Margit Sárdi, the subjective lyric poetry of aristocratic women poets of the 17th- 18th centuries demonstrates the daring transformation of social, linguistic, and poetic conven- tions in contrast to the more conventional male poets of the age. A special area in the process of folklorization, the writing of a keepsake as began This interest. great arouse certainly will albums, a into turned but men, intellectual among custom has and century, 19th the during activity women’s by today become primarily a custom among girls. All three essays written on the topic of and the arts women to prove be topical and thought-pro- voking. György E. Szônyi introduces the social context of the exchange of gender roles dressing) (cross- in English Renaissance Szacsvay analyses the meaning of siren depictions drama. Éva in 17th-century Calvinist churches and comes to the conclusion that the siren is a biblical symbol, the prostitute of the Book of ethno- Hungarian in time first the for Revelation. essay, Lujza Tari’s musicology, provides a brief history of brought up in ruraltraditional Hungarian society women in terms of their familiarity with and use of musical instruments. craft as well as the process of making earthenware; making of process the as well potter’sas craft the introduces part first of The parts. consists three film The institutions. educational in school used be best can they that thus, minutes; 45 last classes consideration into taking minutes, 20 approximately run to unit each for planned and units basic three into film the divided filmmakers The segments. separate in or sequence in watched time. same the at homes urban supplying even and households peasant in used vessels ware icraft whichonceproduced themillionsofearthen- hand- well-established and ancient this about learn to opportunity providethe to people youngneeded sorely been has this as such film A footage. archival as well as current using time limited very a within created was film the Csupor, István expert pottery János of direction Tariable the by script a with and Under works. outstanding its of some and art folk of areas certain setting classroom a in people young to introduce would that film a shoot to Hungary of Fund Cultural National the from award an of has form the in support Ethnography financial considerable received of Museum Hungarian The Fazekasság I-III: HeritageHungarian Volume2000 1 86 x 0 i. 3 aets. tngahc im Sui o the Ethnography.Museumof Budapest. of Studio Films Ethnographic casettes). (3 min. Beta-SP-VHS 20 x H.S.C. 3 Tari, János manager: production tor and script writer: István Csupor. Director, cameraman and hs ouetr o te otrs rf my be may craft potter’s the on documentary This Films & Videos The Potter’s Craft Video Series. Consultant, edi- For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace ht s tl patcd oa, let n different a many.for in living a provides still and form, albeit today, practiced still is craft that a also is it past: distant the from handicraft lovely and quaint some considered be merely not should pottery-making that audience their upon impress to attempting were film the of makers the material, archival with workshops present-day in (3) and Earthenware; Pottery-Making.of shot Centers footage Bymixing of Use The (2) Making; Pottery-Practice(1) of creators:The its by film the of parts three the to given were titles following the pottery-making of Fittingly,through theirmostcharacteristicartifacts. centers major the presentspart third the and used; is it way the and sumers con- reaches pottery how explains one second the making certain common types of earthenware, and earthenware, of types common certain making of method the process, work whole the observe we film the of segment Inthis baking. and cooking for in detail is that of presenteda potter who produces pots and pans workshop first The workshop. ter’s pot- the to introduction general a with us provides also it sizes; various of clumps into formed finally and pugged, and treaded, sliced, bench, clay the on is up clay piled i.e., readied, is it way way the home, at the stored mining presents surface also less film or The more method. the as well as clay for digging deeper the knownmethods: the of both outlining mining, clay with material, out raw the with starts film The earth’. ‘dish lime-laden their the finally and fired; when reddish and porous it making content oxide ferric the makers clay; fire-proof of pans and pots ducing the practitioners: its through making pottery- of branches major three the introduces It both using pots, recent film shots and the ethnographic archival footage. selling and firing to potter’swheel the of use the through mining clay from The first film deals with the potter’s craft itself, craft potter’s the with deals film first The , usingwhattheycall‘jugearth’ withitshigh dish-makers potters working , pro- , jug- Films & Videos 87 Films Videos Films & János Tari János Fazerkasfilm and Visual Anthropology Visual [A catalogue of Hungarian István István Csupor [Folk dance [Folk language]. (1957- ) Head of the Film Studio of the Hungarian Besides providing an overview of the potter’s craft The viewer will find the different forms of pottery of forms different the find will viewer The and the tricks of his trade, the third part of the film the major centers of pot-concentrates on introducing tery-making in geographical order, from the western (Erdély). border of Transylvania Hungary eastward to Discussing particular centers, the film presents the characteristic earthenware vessels generally produced there (clearly based on the amazingly rich collection of folk art pottery at Ethnography) the as Hungarian Museum well of as unique works certain by master potters. The presentation of outstanding and pottery-making centers and potters’ villages in film the is enriched by archival shots and photographs that attempt to bring the viewer milieu, in the midst of into the work being done there, to the potters’ experience the everyday lives and the very faces of the This film is meant not only to enrich the pic- potters. ture young people have of the craft of but pottery, it can also be put to good use in teaching folk art within an art history course. very interesting in themselves, even without having any background knowledge of the craft. potter’s In the filmmakers’ experience, the objects use is better of remembered by certain viewers through visual input than in the form of Thus, information. the film, in addition to its clear oral or written and simple narration, provides a visual experience through its pictorial representations and information—and not only for school children. Magyar néprajzi filmkatalógus [Potter’s book]. Jelenlévô Múlt. Budapest. 1998; Budapest. Múlt. Jelenlévô book]. [Potter’s János Tari dish- Néptáncnyelven . Fazekaskönyv , we are shown the For place For names and regions, see the maps and the Gazetteer jug-makers Hungarian Hungarian Potters (1952- ) Ethnographer, museologist. Research areas: folk pottery, folk religion and ecology. , we are introduced to the main points of pro- Museum of Ethnography, Vice Museum of President of Ethnography, the Research UNESCO-ICOM-AVICOM. areas: ethnographical and anthropological documentary films, comparative history of ethnographical documentaries, new technologies and multimedia in museology. Major works: ethnographical films]. Budapest. 1995; “History of Hungarian Ethnographic Photography” Photography” Ethnographic Hungarian of “History 1995; Budapest. films]. ethnographical 1983; “Mint Makó 1990-95; Jeruzsálemtôl” The process of drying and then firing earthen- The second film starts with the firing of glazed In In the case of the other two branches of the pottery, Fellow Fellow of the Hungarian Museum of Ethnography since 1983, Head of the Angyal): Zsuzsa (with Pottery works: Major Collection since 1995. [Potter’s Craft Video Series]. [Potter’s Budapest. 1996. István István Csupor stress stress was laid rather on the differences, working i.e., processes that differ from on those of the potters the and the differences in the forms of the objects made. Thus, in the case of the as they call orifice, or, art with a narrow of making jugs them, ‘pulled-up pieces’, while in the case of the makers the about learn also We pieces’. ‘spread-out their ducing typical division of labor in a potter’s workshop, e.g., methods of various i.e., about what they call ‘mottling’, decorating earthenware wheel. made on the potter’s ware is presented partly through new film footage, partly by using The archival photographs. first film ends with the firing of earthenware pottery. artifacts and then depicts the way the final product is marketed and sold (by salesmen wandering from village to village with their carts or from stands at fairs). This second film emphasizes the diversity of earthenware. introduces It all the different forms of pottery from the workshops, potter’s also referring to their function as well as placement and way of usage. It not only lays stress on the differences in them in connection with the form but also presents different ways they are used. the making of handles and certain elements of char- of elements certain and handles of making the filmmak- the by Selected styles. decorative acteristic ers for this segment was a potter from the of region western who Hungary insists on his tradi- Ôrség also film the of makers the methods; working tional Domokos by film 1970 a of parts some of use made entitled Moldován ht e et e ipy a t lan oe about more learn music. folk to authentic had simply he felt he that well so it liked he song; folk old an sing girl vant Transylvanianser- a heard he when 1904, in was it account, one On himself. for music coveredfolk music.” of kind this wrote. Bartók didnotasmuchsuspecttheexistenceof “They circles”, urban ‘cultured’ called so- in unknown entirely was music folk of trove unbelievably richtreasurehimself belonged.“The he which to class middle the from removed years light- was culture folk career, musical his on out starting was Bartók when ago, years hundred A works”.“mostexperimental his audaciously of some it—in ZoltánKodályeven—asput rhythms and harmonies motifs, folk of world traditional the to back harked convinced, personally are we Bartók, century, twentieth the of music the shape to ences influ- the of seminal most the it. of one see Undoubtedly Band, Muzsikás the of members the we, as composer Béla Bartók’s involvement with folk music, This CD is meant to demonstrate the intensity of the Muzsikás Album. Bartók Muzsikás The HeritageHungarian Volume2000 1 88 Alexander Balanescu. Hannibal HNCD 1439. HNCD Hannibal Balanescu. Alexander 1998. 001 MuzsikásMU Balanescu. Alexander There are many anecdotes about how Bartók dis- Audio Releases h Bró Abm Fauig át Sbsyn and Sebestyén Márta Featuring Album. Bartók The . ih át Sbsyn and Sebestyén Márta With For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace n h 15s hn otbe aea ad tape and cameras portable when 1950s the in studied catalogued. and systematically was material accumulated this all gradually, and later, decades finds valuable making still were successors Kodály’s and Bartók the folk tradition turned out to be much more resiliant. But time. against race the losing but all were other.”any or Arab Romanian, Slovak, source: its whatever influence, every embrace willingly I why is that ability; my of best the to ideal this of service the at music my put to tried have I notwithstanding. hostility and the wars all brothers... as live to coming peoples all of ideal the is life... my of principle guiding real “The creed: personal own his crystallize to helped have ic folk cultures of Transylvania (Erdély) was likely to coexistenceofthevarious archa- ence ofthefruitful experi- His travels. his on too, music, instrumental Carpathian Basin, and learned a great deal about folk dance the and of region Hungarian-speaking earth.” on thing any- for it trade not would I life. my of part of say that the time I spent doing it was the happiest are mistaken.AsfarasIamconcerned,canonly convenience and comfort of sacrifice great a ing collecting folk songs was a terribly tiring job involv- that believe who “People trips: these of memories fond but nothing had however, Bartók, physical exertion. small no was tow in phonograph a with the and studies. music folk science: new a of tunes, birth of thousands many of collection a was result The singers. the record to phonograph ting down thetunesastheywere sung,thenusinga jot- initially countryside, the in music folk collect The study of folk dance received a new impetus new a received dance folk of study The collectors music folk that felt Bartók 1919, In every virtually in songs folk collected Bartók roads dirt on countryside the Trekking through Kodály,to Zoltán off and set he Soon,friend, his Audio Releases 89 , per- Audio Audio Releases The Muzsikás The Band Muzsikás Forty-Four Forty-Four Duos for Two Violins s for years, had this to say about the Duo The songs are sung by Márta Sebestyén, who has sung by MártaThe songs are Sebestyén, An extra touch of verisimilitude is added to the The entire CD is a quest for the answer to the experience: “Now that I Muzsikás Band, I feel am that something important is playing with of just how aware more happening to me. I am ever the much the cultural background, the place where I have my roots, means to me.” begin- very the practically from band the with been ning, and has a superb knowledge of archaic folk singing styles. With a rare sensitivity and authenticity, she reproduces the songs as Bartók them in heard the villages, and recorded them with his phonograph. dance music by Zoltán Farkas and choreographer some of the numbers— Tóth, who join us in Ildikó you can hear them stepping and stomping at times. question: What was it in folk music that attracted Bartók like a magnet? Perhaps the same thing that we find irresistible. three three of his formed here by the own band’s Mihály Sipos, and the Romanian-born British Alexander Balanescu. For purposes of comparison, violin virtuoso, we have given in full the songs that served as the inspiration: Bartók’s original phonograph record- for capable, but sure, be to scratchy, somewhat ings, all that, of bringing to life the singers of yore and the sound that so captivated old friend of ours who has been play- an Balanescu, Bartók. Alexander ing the in the case of For place For names and regions, see the maps and the Gazetteer Album was originally collected by movement. movement. Just Just how this folk influence on Bartók’s music We were all caught up in the magic of the folk tra- folk the of magic the in up caught all were We There was a demand for folk music outside the On one invited occasion, to we were play in New The 1970s saw a new wave of folk revival sweep over Hungary, with much of the interest focused on focused interest the of much with Hungary, over folk dance and folk music. The wanted to experience the new folk tradition in its origi- generation nal, unadulterated form. We, the members of the studies at this time, began our own Band, Muzsikás going on collecting trips into the countryside, our principal aim being to learn the instrumental techniques of the village folk musicians. Dancers, too, sought out the still groups, and learned the traditional steps. functioning village dance dition. Something akin to a new sense of community evolved in the clubs and cultural centres where we and the dancers passed on what we had learned it. learning in pleasure a great as took who people to It was the beginning of what would grow into the táncház clubs as well; we gave concerts, made records, and concerts giving itself found Band Muzsikás the soon the world over. at York the Bard College Music Festival, where the theme, that music. was year, Although Bartók’s the audience knew music Bartók’s well, most of them were hearing Hungarian folk music for time the ever. It was first then that we decided to make a record which would demonstrate Bartók’s ties to folk music. Almost every Muzsikás Bartók tune Album we play in the recorders recorders came into popular use. Under the guidance of György Martin, a new generation enthusi- astically undertook the task and traditions, dance regions’ Hungarian-speaking of “mapping” the of amount enormous an process, the in discovered, till then unknown dance music in some archaic Hungarian of regions, principally the Transylva- nia (Erdély), where Zoltán Kallós did some outstanding work. Bartók himself, and can be found, in some variation, in his works. “works” is illustrated in the Hungarian Heritage Volume 1 2000

Festival of Trades and Crafts PÁL BÁNSZKY (Kecskemét)

August 20 of the year 2000 will mark the fourteenth was the Society which was the moving spirit behind occasion that the Folk Art Society will be holding the first Festival of Trades and Crafts held in 1987. the Festival of Trades and Crafts in the Castle The very date the Festival is held ties in with some District of Buda. What was it—we might take a age-old traditions. Mid-August marks the end of the moment to wonder—that impelled the Society, and wheat harvest, the most important of the agricultur- more specifically, László Péterfy, its president in alists summer tasks. Farmers take a moment’s rest, 1987, to organize the first such event? and have their priests bless the crop that will provide It was, above all, the need for renewal. In the the nation’s bread for the coming year. Craftsmen, 1970s already, various steps were taken, particularly dancers and singers join the parade of farmers bear- by young folk artisans, to breathe new life into folk ing harvest wreaths on August 20, an event which crafts, which were, by then, no more than the highly commercialized production of “folkish” artifacts, stylized objects reminiscent of the everyday implements of village life made purely for purposes of home decoration. A woodcarver, for instance, would be given prefab boxes: he had no part in choosing the wood, nor the shape and form of the box. His only job was to carve traditional motifs on the empty surfaces, and to make the decorative elements dominate. Non-functional versions of long-obsolete household implements were mass produced: laundry paddles for washing and “ironing”, dippers of all sizes, and so on, and all these so-called works of folk art ended up in the glass display cases of living rooms, or among the “treasures” displayed on kitchen walls In 1973, the Studio of Young Folk Artists was formed, an association of young people eager to revive every aspect of traditional folk culture, and professionals ready to contribute to such a revival. This was the time that the táncház movement got off the ground, and folk music groups began to spring up. In 1982, the Studio of Young Folk Artists gave way to the newly-formed Folk Art Society, and it Photo: Csaba Bogár, Association of Folk Art Societies.

90 For place names and regions, see the maps and the Gazetteer Festivals & Fairs 91 Festivals & Festivals Fairs Artisans young and old who identify with the new folk revival will explore various art facets of the boundless world of forms. latent form the for look will They in a piece of organic material, and do no more wood or other than help it to surface; alternate- ly, they will impose upon the line technology. There has also been a growing awareness of the incomparable practical and aesthetic advantages that natural materials—a carved bowl, a wooden hemp rug, a hand-made plas- say, over toy—have wooden tic. There is the beauty warmth of the and natural materials, the bowl, the that, than more but rug, and the toy speak and effort, human of traces all bear the of the world of archaic structures and forms. Children Children especially will be catered to. In 1999, The Festival of Trades and Crafts visitors provides Trades The of Festival like in previous years, there were special children’s workshops on the terrace of the palace. In tents set with an opportunity to purchase artifacts that are carefully-crafted, beautiful, and useful. (This is the occasion when the titles “Master Craftsman of are the Year” the of Craftsman Master “Junior and Year”, awarded.) But more importantly, how hand first view to chance a people gives Festival perhaps, the a rug, a barrel, or a wooden bowl is made, how clay turns into a pot, and how iron yields to the black- blows. Our hope smith’s is that at least some of our visitors will feel inclined to try their hand at the easier work processes. material their own studied design. They crafts than anyone can will learn; and do they will execute works requiring consummate skill and They will give expertise. form to things, and they will create things; they will make everyday objects, and they will make works of art. Photo: Csaba Bogár, Photo: Association Csaba of Bogár, Art Folk Societies. For place For names and regions, see the maps and the Gazetteer (literally, (literally, hound’s backbone), kutyagerinc What the two groups have in common is the newWhat the two groups have Those displaying their wares at the Festival of Trades and Crafts— and Trades of Festival the over five hundred members of Folk exhibitors, Art Societies all over the country—fall into one of two groups. The one is the group of artisans and tradesmen: furniture makers, potters, coopers, blacksmiths, dyers and weavers, people who make their living at traditional crafts that go of years. thousands nay, hundreds, back Designers, craftsmen, researchers market and businessmen all rolled into one, these people need to be both artisans and entrepre- neurs. The other is the group of artisans who draw their inspira- respect (in tradition folk from tion of approach, sense of proportion, as well as the technologies and materials used), but community. members of a village not themselves are Some of them create folk artifacts one; others—and these or to please a loved pleasure, for their own talent, sheer of dint by artists—produce, folk the are articles that take as much skill and time as the artifacts produced by master craftsmen. orientation which envisions folk craftsmanship as both traditional and innovative, and, in the final past the In life. everyday partof organic an analysis, have artisans more and more so, or years twenty-five the unity of that it is time to restore come to realize aesthetic form and function, and that Hungarian folk art has never been just They purely decorative. have come to recognize that functional “designs” like the culminates culminates in the blessing of the templom Mátyás the in bread new (Matthias Church) square. which herdsmen used to hold their cast-iron caul- drons over the fire, or baby rattles identical elements, adumbrated, in composed some sense, the of fitted parts that would form the basis of assembly- hr wr as catmn rm owy n the and 1999. in RepublicCzech Norway from craftsmen also were there skills, and goods their displaying artisans Italian the Besides Netherlands). Poland,and The was it previous years, (in 1999 in honor of guest the was Italy the to way give stages the evenings, the In and Portugal, besides thevarious Hungarian groups. China Croatia,France,Greece, Denmark, Belgium, the other. In 1999, there were guest performers from after one performing troupes dance and bands with rule, a as up set are stages TradesThreeCrafts. and of Festival the of parts integral been have dancing a and Judyshow.Punchand pantomimes, theaters, street be will entertainment, there their for And it. fly to and how kite, learn a make to learn stilts, can on walk They to spoon. learn wooden a carve or pot, glazed a make to chance a have and loom, the and wheel this year, too, children will be able to try the potter’s country’sthe from craftsmen by up regions,various FairsFestivals& 92 Pál Bánszky Pál [Naive art in Hungary]. Budapest: Képzômûvészeti Kiadó. 1984; Kiadó. Képzômûvészeti Budapest: Hungary]. in art [Naive works: Major art. folk research art, naive Main art, HungarianRegion. Inter-Duna-Tiszacontemporary interests: the of Societies Art Folk of Association the and Societies) Art Naive (Kecskemét), current Art president oftheNépmûvészeti Egyesületek Szövetsége (AssociationofFolk flowers of fine art]. Kecskemét. 1997. Kecskemét. art]. fine of flowers Photo: Csaba Bogár, Association of Folk Art Societies. Folk Art Bogár,of Csaba Association Photo: Festivals folk and music folk beginning, very the From & Fairs (1929- ) Past director of the Bács Kiskun County Museums, past director of the Museum of Museum the of director past Museums, County Kiskun Bács the of Pastdirector ) (1929- For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace táncház: not make it its own.” its it make not does generation new each if evaporates soon fathers fore- the of culture inherited. The be can that thing some- not is “CultureKodály’s Zoltánadmonition: heart to taken have century.we twenty-first But the of challenges the to equal are and trends, latest the with tune in are who traditionists be to is aim Our heritage. this on build to proud is FolkSocieties Art Hungary’sculture. folk living has eventsof significant most the Festivalof one become indeed The year. each over attracts participants which 100,000 tradition new a to up added have crafts and arts of sale carnival and display the the wheat, mood, of harvest fresh the of baked bread of blessing the Church, Matthias the to men crafts- and farmers of procession harvest Fair.The Budapest’sbecome has CraftsStephen’sSt. and Day As the organizer of the event, the Association of Association the event, the of organizer the As Trades of Festival the years, thirteen past the In Photo: Csaba Bogár, Association of Folk Art Societies. Folk Art Bogár,of Csaba Association Photo: A képzômûvészet vadvirágai képzômûvészet A A naív mûvészet Magyarországon mûvészet naív A [The wild [The Hungarian Heritage Volume 1 2000

The Táncház Festival in Budapest DAVID FRANCIS and STAN REEVES (Edinburgh)

As two activists in the field of traditional music in thoroughly immersing the dancers in the music, Scotland, we greatly looked forward to finding out getting the authentic rhythms right into their heads more about the Hungarian approach to the develop- and bodies. ment of traditional music and dance. We knew Elsewhere singers and bands performed short pre- something of the work of the táncház movement sentations, in a mix of traditional and revivalist and of the folk music school, mainly through visits musicians. We suspect that these definitions may to Edinburgh by Hungarian musicians, and wel- soon start to lose their meaning as some of the so- comed the opportunity to see something of the work called revivalists begin themselves to become source at first hand, through visits to the annual Táncház musicians for a younger generation. An indication of Festival, the school itself and a táncház venue. the lengthening shadow of the revival was the Jánosi A last minute need to change venue meant the Ensemble’s celebration of their 25th year, which Nineteenth Táncház Festival had to take place in included almost everyone who had played with the the cheerless and uncomfortable surroundings of group over that period, joined for the occasion by the Hungexpo site. To their credit, however, the visiting musicians from a high school in Norway. organisers had done their utmost to make the venue An indication of the heights the revival of tradition- welcoming and appropriate to the music and dance al music in Hungary has reached came in the gala con- taking place over the weekend. Three large halls and certs, large scale affairs with the cream of the country’s a smaller one were in use, craft stalls made the link musicians and singers performing in a variety of com- between music, dance and a wider folk life, and binations, followed by some stunning dance displays. thousands of people, most of them as far as we We also attended a late night dance, where young could tell in their twenties or younger, circulated musicians followed the example of their village men- throughout the area. tors, playing long sets while the dancers tried out the As we arrived a dance workshop was in full swing. figures and steps they had learned earlier that day. The form these workshops took is worth comment- There was also an element here of connections with ing on. The music was provided by a succession of other cultures as guitars and the ubiquitous African traditional bands, many from Transylvania (Erdély), percussion made their presence felt. There was, how- playing in continuous segments of around 20 min- ever, an irruption of an ancient cultural form as some utes. They did not stop and start at the behest of the rough actors brought in their play, echoing characters workshop leader. The leader would explain steps and situations familiar to us from the “mummers’ and figures with the aid of a radio mike and demon- plays”, known in Scotland as The Galoshen. Here the strate; and, once satisfied with the progress of the eternal battle is fought between good and evil, against dancers, would pick up at an appropriate place in a backdrop of the eternal verities of change, death and the flow of the music, like a surfer catching a wave. renewal. We did not understand a word, but could still This method seems to us to have the great merit of marvel at the familiarity of what we were seeing.

For place names and regions, see the maps and the Gazetteer 93 Festivals & FairsFestivals& 94 musicians for a younger generation. It is only source as seen be could musicians revivalist expected. standards the into insight real a whistle, he found his teacher exacting, and gained tin the on lesson adept Although musician. master a with refresher a taking band young a with sion ses- a on in sit volunteeredto he when hand first at sounds this the experienced Stan approximations! exactly—no get students that requirement a and or class. able the in musicians committed more the toward lesson the pitching by abilities mixed teaching of dilemma the dle han- to seemed tutors that see to us for esting inter- was It students. other the and tutor the both by along or pulled being students experienced practised less the with experience, and abilities of mix a had attended we classes the of classes and a low student to tutor ratio. One or two small for allowingstaff, full-time four and tutors 16 300 students of all ages, paying modest tuition rates, provision. to approach systematic no is There teachers. suitable will depend on where you live and the music availability of traditional learning for opportunities all cases in but schools, in taught music traditional be year.a will once there place cases take some Inonly may which festivals or courses of form the in ities ers, or classes of varying sizes, or concentrated activ- teach- individual either around revolve will ments instru- traditional in tuition place any In Scotland. contra. and gurdy hurdy fiddle, in classes on in Musicsitting School), Folk (Óbuda Iskola Népzenei Óbudai the of doors the behind on goes what of some of glimpse a get Hungarian traditionalmusic. We were privilegedto of teachers the of vision of clarity and dedication the is factor important Another concerts. gala the in presented display virtuosic of kind the possible make to helped have communities traditional and The links made between the between made links The Earlier we touched on the process by which by process the on touched we Earlier teaching, rigorous to commitment a is There Festivals has Budapest in School Music Traditional The & in project this of equivalent direct no is There Fairs táncház movement

some of the great characters who made it. made who characters great the of some and from, came music the where of reminder stant con- a rooms, teaching the of walls the on hanging reproductions photo large the by impressed ularly collection of recordings and videos. We were partic- comprehensivea by so do to helped are and source, students are continually encouraged to return to the where school, Budapest the at fundamental is tude atti- This inspiration. and models their for sources original the to turn musicians younger and dents stu- that prefer often mature will who musicians, revivalist more the among uneasiness some that causes affairs of state a is this that comment to fair Photo: György Szomjas, Táncház Foundation. Táncház Szomjas, György Photo: Festivals & Fairs 95 Festivals & Festivals Fairs is Development Stan Stan Reeves Second, Second, we were struck by the number of young We We found much in Hungary to inspire us and people involved. could We sense a genuine love for affecta- the music and dance, which goes far beyond tion or fashion. Sociability is a strong factor in this, but so too perhaps is an instinctive awareness that a culture their of roots the and past, the to connection offers a bulwark against cultural imperialism, from whatever quarter it encroaches. Of course, we have to all live in the world as it is, and as we find it, out on but that task is perhaps made easier if carried a firm foundation of cultural identity. take back to Scotland to inform our practice, own but future two main strands of our Hungarian to work we as important, particularly are experience arts for the traditional in recognition gain increased a country which has just regained its own government for the first time in 300 attention years. that the state First pays to the is music, which it the seems to be able to fund without robbing Peter to pay Paul. This may be because traditional garian music Hun- is such a well spring for Hungarian music of every genre, and so is valued for the nour- ishment it can offer musical culture at every level. CD and bookshop (where we were able to buy a collection of Scottish field 1950s, recordings which we from had never seen the at home). There was also, curiously for us, an archery range, where young people, looking back Magyar past, could perhaps hone their skills in a to way their their ancestors might well have recognised. For place For names and regions, see the maps and the Gazetteer activity, activity, a bar and social area, a is the former Artistic Director of Edinburgh Festival. Folk táncház Officer Officer with the Adult Learning in Project Edinburgh, which has a well established and growing Scots programme. Music Both are musicians with a strong interest in dance music. While in Gödöllô we chanced on a dance practice Our other significant visit was to the Budai Fonó We We were able to witness evidence of the School’s commitment commitment to outreach work when we accompanied the school head, Tamás Gödöllô, a Kiss, short distance from on the capital. Here he a trip gave, to over two sessions, a presentation Years of on Hungarian Music” to “1,000 around 300 children able were and songs in joined children The 10. under to see and hear, perhaps for the first time in cases, some a range of instruments and musical styles. would whom of oldest the people, young of group a by have been things about caught 16. Two our attention here. Although the session was supervised by an experienced dance teacher, the bulk of the significant other The teaching girl. older an by out was carried being part, taking boys of number large the was us for feature and showing real commitment to the work. This is something that would be fairly difficult to find in folk dance in Scotland.. The style known Dancing, for example, is now almost exclusively done as Highland by due girls, to although its originally, athleticism and the been have would it Dance), Sword the (e.g. context preserve of young men. Zeneház (Fonó Music Hall) in Budapest, a project housed in a building donated by a industrialist, and subsidised by music the The state. range loving of activity within Fonó was impressive: a performance space offering a mixed programme, including plenty of David David Francis Hungarian Heritage Volume 1 2000

Hungarian Folk Exhibitions and Programs at the Museum of Ethnography

Exhibitions gle for self-determination. Cifraszûr, the catalogue published by the Museum of Ethnography to coincide with the exhibition, is available on location. The Folk Culture of Hungary (A Permanent Exhibition) First Floor Living Folk Art May 26-October 1, 2000 (See the study by Attila Selmeczi Kovács on pages 68-72) Second Floor Fancy Frieze-Coats (“Cifraszûr”) The year 2000 marks the thirteenth occasion that the June 23-September 24, 2000 Museum is hosting the National Folk Art Exhibition. The Ground Floor last similar event took place in 1996. The Museum of Ethnography and the Hungarian Institute for Culture The cifraszûr or fancy frieze-coat is one of the best-known (1011 Budapest, Corvin tér 8) have worked jointly on the pieces of ethnic men’s wear. Considered to be a typically displays, which have been endorsed by the Association of Hungarian piece of clothing, the cifraszûr is a prized item Folk Art Societies. The Hungarian Cultural Institute pub- of the Textile Collection of the Museum of Ethnography, lished its call for exhibits last April, and, in keeping with which, with the 150-odd fancy frieze-coats in its posses- what is now a traditional procedure, the objects displayed sion, boasts the largest such collection in the country. here are the ones judged best at the various juried county About 30 representative pieces of this collection are being exhibitions. They come from the workshops of wood- exhibited. The szûr or frieze-coat was a felt overcoat of carvers, joiners, embroiderers, weavers, frieze weavers, Oriental tailoring, worn over the shoulders like a cloak; the lace-makers and potters, as well as egg painters and jewel- sleeves were left to hang at the sides. It was typical herds- ers. The everyday objects range from those made of wick- men’s and peasants’ wear; no “gentleman” would ever wear er, sedge and straw, to cast-iron tools and entire room fur- one. Frieze-coats began to be decorated in the nineteenth nishings. Interior design is an integral part of the exhibi- century, first only with a blue edging, and then with a tion, as indeed it is of our day-to-day lives. The interiors, more and more elaborate embroidery. Stylized versions of generally a medley of textiles, ceramics, and wood and brightly-colored flowers, singly or in bunches—tailors metal objects, are usually the work of individual artists, spoke of “flowering” the coats, rather than “embroidering” but several of the “sets” to be seen have been designed by them—were the typical motifs of these “fancy” (cifra) teams of two or more. frieze-coats, which were called “cifraszûr”. Frieze-coats were sewn and embroidered by specialized local artisans, Folk artists young and old have contributed their master- the frieze-coat tailors. Embroidering frieze-coats was a pieces, and the exhibits reflect a corresponding diversity of man’s job, except in the Hajdúság region, where women artistic approaches and styles. For though all the artists— would be employed to do the embroidery when the tailors like their art—are rooted in tradition, they are constantly had so many orders they could not do everything on each experimenting with new techniques, new forms, colors and szûr themselves. The rich variety of floral motifs, the har- materials in the effort to find forms of artistic expression mony of patterns and colors are a tribute to the aesthetic attractive and familiar to the man in the street of today. sense of the Hungarian peasantry. Always a garment for The various craft workshops held at the museum through- special occasions, the fancy frieze-coat became a symbol of out the exhibition also reflect the stylistic and regional national pride in the second half of the nineteenth century, diversity of folk art. The illustrated exhibition catalogue when wearing it meant identification with Hungary’s strug- highlights the prize-winning exhibits.

96 For place names and regions, see the maps and the Gazetteer The Folk Scene in 2000 97 ). The ). folk májusfa-kitáncolás The Folk The Scene Folk Information in 2000—Practical traditions associated with May Day are enacted at the museum on this day; there will also be folk singing, and instrumental folk music, both solo and orchestral. Film and Multimedia Festival of and Film Festival the Multimedia World’s Avicom [email protected] Museums 22-25 November the audio-visual association AVICOM, of ICOM, the world organization of museums within UNESCO, is holding its world festival in Budapest under the name The museum will be transformed into a ver- [email protected]. Setting Up Setting a Up With Maypole the of Pupils the Óbuda School Music Folk April 30 The Maypole, traditionally set is up the on sym- May Day, rebirth. Bedecked with bol ribbons, of flowers nature’s and pretzels, the Maypole is set up by the young men of the village in front of young marriageable houses, girls’ and stays there when until it Pentecost, is midst removed much festive dancing and singing ( Easter Egg Fair April 8-9 and April 15-16 The dyed and decorated Easter eggs popular particularly in Eastern Europe were originally made to be given as pres- they serveents; today, primarily an ornamental purpose, as works of These art. two weekends at the museum feature the Easter egg as a work of art. a Using variety of traditional with techniques—“writing” molten candle wax on the eggshell before dying it, pattern so stands that the “written” out in eggshell a color; pattern “scratching” onto the dyed eggshell; the and eggs: “shoeing” decorating them with beads and small metallic cutouts using the tiniest of nails— the masters of these crafts create Easter eggs in the sight of all, and offer the finished works for sale. Visitors are free to try some of the techniques under the supervisions of the experts. pantomimes pantomimes are put on by mummers, fertility spells are cast, and village youngsters go from door to door to wish their neighbors a year of It is peace this and village plenty. farsang of yore that is brought to life at the museum, as authentic folk groups from Hungary and abroad conjure up the old traditions.

Photo: Erzsébet Winter, Hungarian Museum of E thnography. ), a time of pre-Lenten merry- farsang The carnival season ( making, starts with Epiphany (January 6) and ends on Ash The Sunday and Monday immediately preced- Wednesday. mark ing the Ash peak Wednesday when of the revelry, Calendar of Events For the Year 2000 Calendar of the Year For Events Carnival Merriment March 4 This exhibition, planned to take up the whole of the museum, is meant attitude to and illustrate relation- mankind’s ship to The time. apropos is the millennial celebrations, a special case of the significance that man ascribes to the passage of The time. exhibits will illustrate the anthropological and ethnographic roots of this ascription, and show “time” to be a a concept historical whose “product”, meaning is is planned always Time” to culture-relative. “Pictures of be not just a museum exhibition in the traditional sense, but an opportunity for self-reflection in the widest sense, and a complex cultural event worthy of the extraordinary year 2000. The very opening ceremony is likely to make for a memo- rable turn of the millennium. Scheduled to start at 11 p.m. on the night of December 31, 2000, it will be an event in which those attending will themselves become performers in the ritual celebration of a turning point which cultures the world over regard as all the more special for being The opening unreproductible. ceremony will be filmed and—having thus been made timeless—will itself become one of the objects exhibited. Millennial Millennial Exhibition: Time Pictures of December 31, 2000-December 31, 2001 fair, a good opportunity to do some Christmas shopping. Christmas some do to opportunity fair,good a craft folk a be also room. will the There in witches the see to it on up ready,stood when who which, anyone allowed Eve,and Christmas to St.Lucy of feast the from evening every wood of types various of made traditionally chair will show how to make a make to how show will return).Woodworkers in presents getting and couple, the upon door, fertility to wishing door from going (children LucySt. be will heart. There the of affairs to reference special with telling, fortune- as well as yields, crop and weather “techniques”include the foretelling for will program day-long guests. The cial spe- some of help the with museum the at introduced be will several St.Lucy,of feast the to attach that rites magical and tions supersti- numerous the Of 10 December Superstitions Lucy’sSt Day days. three all on decorations Christmas and wreathsAdvent make to how of tions demonstra- be will There arrangers. flower leading Hungary’sby Christmas and Advent for compositions floral present will exhibition The 12 and November11 10, AdventWreaths of Exhibition on. so and quizzes, fortune-telling, playhouses, handicraft children, for games customs, folk ethnic and Hungariantoday.knownof presentations be will There little are which practices cycle, Christmas the of traditions folk the from taken elements present events year-end These FestivalsWinter museography.on films view and pages, Internet and programs museum multimedia test to as well as museums, world’sthe with contact live make to chance the visitors offer will computers twenty-five as cyber-museum, itable 2000—Practicalin InformationFolk Scene The 98 The Folk Scene in 2000 ’ s Day mummers, and examples of examples and mummers, Day s lucaszék (St. Lucy(St. For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace ’ s Chair), a Chair), s lucázás December 10, 16 and 17 and 16 10, December FairChristmas fair.craft folk a and weekend, all workshops craft be also Nativityplays. will local There own their on put each will who Hungary from players folk ethnic and abroad, from Hungariangroups by revived being is that tradition this Itis Child. Christ the of birth the of story the told and house to house from went Nativityplayers days, bygone In 16-17. December TenthNativityPlayers of Meeting International December to February: 10:00 a.m. to 4:00 p.m. 4:00 to a.m. 10:00 February: to December p.m.; 6:00 to November:a.m. to 10:00 March hours: Opening Website:www.hem.hu [email protected] E-mail: 332-6340 1) (36 312-4878, Phone/Fax:1) (36 12. tér Lajos Kossuth district, 5th Budapest, Ethnography)(HungarianMuseumof Múzeum Néprajzi F vast one be will museum the days, these of three all On RINFORMATION OR folk craft fair, where the artisans and crafts- and artisans fair,the craft where folk , men will hold workshops for all those all for workshops hold will men CONTACT interested, particularly the children, the particularly interested, who will have a chance to make to chance a have will who : some of the gifts that they that gifts the of some want to give for Christmas. for give to want Christmas trees designed trees Christmas and decorated by folk by decorated and artists will also be on dis- on be also will artists play on all floors of the of floors all on play museum. Hungarian Heritage Volume 1 2000

Program at the Szentendre Open-Air Museum of Ethnography

Domestic Animals’ Day Palm Sunday—Rites of Spring April 2 April 16 In 1996, the museum set up its “Nagykunság farmstead”, Lent, the period of forty days preceding Easter, is a time of an example of one of the typical settlement types of the spiritual, and literal, “spring cleaning”. Holy Week—the Great Plain (Alföld): an isolated, self-sufficient farm with a week starting with Palm Sunday—is a week of houseclean- house and farm buildings. The farmstead reconstructed at ing, of tidying up the yard, and of banishing the last signs the Szentendre site aims to introduce the visitor to the stan- of winter. Demonstrations will be given of a variety of dard nineteenth-century tanya, complete with some tradi- spring chores—how to fill cracks with mud, how to white- tional Hungarian breeds of sheep, cattle, goat, pig and other wash walls, and how to prune trees. farm animals, which have given way to more “productive” Palm Sunday (the Sunday before Easter) recalls Jesus’s tri- (but less hardy) breeds in today’s modern farming. Visitors umphant entry into Jerusalem, when the hosannaing to the tanya on Domestic Animals’ Day can follow the crowds strewed his path with palm branches. In Hungary, “farmer” and his “family” about as they do their daily willow branches are used to represent the palm; it is bunch- chores: feeding the animals, cleaning the stables, milking es of willows that are blessed in church, and then taken the cows, goats and sheep, and putting them out to pasture. home as a token of God’s blessing upon the house. Several There will also be demonstrations of work processes using other folk customs are also associated with Palm Sunday. animal power: plowing, carting, and milling. This is the day that the young men and girls of the village, bearing greening and flowering branches, hold their zöldágjárás (“green bough promenade”), singing and dancing through the streets in celebration of spring. Another practice is the kiszehajtás, when young girls carry a straw dummy representing winter through the streets, and then either throw it into the stream, or burn it in the end.

Easter Sunday, Easter Monday April 23-24 On this, one of the greatest of Christian holidays, visitors to the museum can relive the folk traditions of Easter. On both days, there will be stalls and stalls of decorated Easter eggs; visitors can buy them, and/or try their hand at making ones like them under the guidance of the artists there. Easter Monday, the traditional day for locsolkodás (literally, “watering, sprinkling”: the male practice of sprinkling water—and more recently, perfume—on the ladies, young and old, lest they “wither”), will feature a natural cosmetics fair. There will also be a folk arts and crafts fair (with opportunities to see the craftsmen at work) on both days. Photo: Péter Deim, Szentendre Open-Air Museum of Ethnography.

For place names and regions, see the maps and the Gazetteer 99 running meets of every kind. Activities kind. every of meets running tug-of-war,wrestling); and and ning, run- throwing, stick jumping, long ing, “pentathlon”throw- stone of (consisting shoulders); his/her on “rider”up sitting the “horse”,and the being partner (one “wheelbarrow”);the riding” “horseback behind running legs his/her of both up holding partner the with hands, his/her “wheelbarrow”on (the ing” racing “wheelbarrow-be skill. will Thereand “antique”strengthvarious of the tests of equivalents folk the in participate can try coun- the over all from 12 and 8 of ages the between Children Olympics. lage Hungarianvil- first the of location the be will grounds, museum the inside ruin Roman a Rustica, Villa third-century late- the around field playing large The 14 May Olympics Village the of works prize-winning the of exhibition The 1 May Children for Day Arts mid-1980s. the in tions tradi- these revivedMuseum that Open-Air Szentendre the Firemen’sthe was with it close hiatus, of decades After Ball. would day the and uniforms, dress their in parade would Firemen’slocal firemen the concerts, give would Band the out, put werefires the After Florian.St. of honor in firemen’sfor day held traditional Hungary in competitions country.the Tothe century,was mid-twentieth 4 Maythe over all sweeps chimney and bakers, blacksmiths, potters, brewers, of guilds of saint patron the him made fire against efficacy Hisprayers). his of power the with flames ing roar- out put once he that it has (tradition fire against hand protective a lending with credited is martyrs) Christian the of earliest the of soldier,one Roman and (a FlorianSt. 29 April Florian’sSt. Day 2000—Practicalin InformationFolk Scene The 100 folk art techniques. art folk various through and materials of variety a with ativity cre- their express to ages all of children for opportunity of plenty be will there And skits. their on putting be also “Barnwill the program Theater”of troupes winning The The Folk SceneSeeChildren as in 2000 It art contest will be opening on this day.this on opening be will contest art Open-Air Museum of Ethnography.Museumof Open-Air Szentendre Deim, Péter Photo: History will go from dawn to dusk. to dawn from go will on hand to meet with visitors on this Worldthis on Museumvisitors Day. with meet to hand on be weaver.will frieze too, maker,staff,a museum and The weaver,baker,embroiderer,cloth dipped-paper an a a weaver,weaver,dler,potter,gingerbreadstraw basket a a a a woodworker,sad- a a be to takes it what first-hand see to museum’sthe able with be skills will their who ing visitors, shar- for knack real a have students crafts. The and arts al tradition- at living their make to plan who people young to open is school the 1990, in Opened Szakiskola. Szolgáltató és Kézmûves Alapítványa FiatalokEsély Pályakezdô the of students the hosting be will year,museum This the 18 May “YoungOld at Trades”—WorldHands MuseumDay are wooden-tub slides, and log and root climbing frames. rootclimbing and log and slides, wooden-tub are “witch’sa thereand course; obstacle oven”,an and turret, a quarry,stage, clay wooden and a stone a ramparts, with castle wooden a barn, play a box, sand a them. is between There bushes activity,and and grouppalisades age with by areas six into off sectioned is grounds.park the The inside park play vastnew the of possession take to able be will museum the to youngvisitors the that Children’sday first the be will Day 28 May Playground Children’sSeesaw the of Opening the Day: the year 2000. In commemoration of commemoration In 2000. year the Museumin Open-Air Szentendre the for day special very a is king, Christian Hungary’sof feast the first 20, August 20 August Bread and Bakers, Millers, of Day Stephen:St. King FeastThe of gates. museum the at posted program detailed the in specified as craft, ferent dif- some at hand their try can visitors EveryWednesday inclusive. Friday,and 25, August and July5 between run to due workshops of series a planned have we makers, Toholiday the to cater August:Julyand Shops Craft and Crafts foundation of the Hungarian state, we Hungarianstate, the of foundation the of anniversary thousandth one the The Folk Scene in 2000 101 . The . focus is Healing Healing Herbs and Leaves The Folk The Scene Folk Information in 2000—Practical Healing Healing Herbs and Leaves: Remedies Folk and Herbalists in Folk Hungary through the Ages October 8 Every year since 1997, the Szentendre Open-Air Museum has been holding a day of folk healing and ethno-botany under the title End-of-Season Bagpiper Meet October 29 The season will close with an event in keeping with the sounds and spirit of the traditional autumn herding of livestock into sheltered winter quarters, and the merry- year-end making that followed upon the herdsmen’s The accounting. restaurant on the museum grounds will be offering a menu featuring the freshly-slaughtered fat- tened pig, and drinks enough to moisten the lips of all the bagpiper contestants. Szentendrei Szabadtéri Néprajzi Múzeum (Szentendre Open-Air of Museum Ethnography) Szentendre, Sztaravodai út Phone: (36 26) 502-500, (36 26) 502-501, (36 26) 312-304 (36 Fax: 26) 310-183 E-mail: [email protected] www.sznm.hu Website: Opening hours: 9:00 a.m. to 5:00 p.m. every day from April 1 to October 31. Veszprém Days Veszprém September 23-24 Everyone with an interest in folk culture in Veszprém County—museums, of educational institutions, “friends” castles and monuments, the Balaton-felvidék National folk Park, groups and societies, tourist bureaus, wine cellars and restaurants—will contribute their best efforts and exhibits to this two-day festival. were were in lavender-scented chests. Contemporary folk art will be given its due in the exhibited works of the and the Handicrafts Veszprém Workshop Veszprém County ArtFolk Society. always on different aspects of folk This medicine. millenni- Péter Babulka, the Dr. al permanent year, director of the program, is offering a historical overview of the evolution of folk medicine in Hungary over the past thousand years. For place For names and regions, see the maps and the Gazetteer s own “mini” Western s own “mini” ’ The Folk Art of Veszprém County The Veszprém Art Folk of The Opening of the Bakony and Balaton-felvidék “Region”; September 22 own Bakony The forest and opening of the museum’s is the last significant Balaton-felvidék event “region” of the Millennial It is National Program. also marks the festive conclusion of the “Europe, a Common Campaign. Heritage” The temporary exhibition of folk art from Veszprém County in the house, farm buildings and stables relocated from Szentgál The opens objects the on same dis- day. play come from the Laczkó Dezsô from Museum, our own collection, and from private collections. Of special interest are the works of art carved by herdsmen of bone, horn, and wood; and the colorful textiles, “good” some of them elaborately embroidered, and many of them having outlived generations, carefully packed away as they “Wine Festival” September 9-10 The jointly Wine Festival, organized by the Association of Art Folk Societies, the Szentendre Open-Air and Museum, the has Viticulture Foundation, Hungarian been a part of the Budapest Wine International and Champagne Festival since 1997. The two-day festival will be centered on the vineyards and wine cellars of the museum have have finally finished the installation of one of the most fascinating of our exhibits: the windmill from Dusnok in the The Plain Great (Alföld). day will start with a Mass in honor of St. Stephen, and the blessing of the new-baked Then, visitors bread. will have a chance to see the new mill in action, as it grinds the wheat. Bread will be baked in the bakeries and various “regional” kitchens of the museum complex, and visitors will be able to sample the baked goods as they come fresh from the ovens. special guests will The be day’s the Elemér Muharay Hagyományôrzô Egyesület from Bag, who will give visitors a post-harvestglimpse of festivities. their Crafts for village’s the day will focus on specifically harvest-centered objects: the potters will show how to make a harvest jug (a double- walled jug that keeps the water cool), and the straw weavers how to make a harvest wreath. Dunántúl Dunántúl and Kisalföld, a milieu that conjures up the peasant world of the Hungary’s mid-nineteenth century. minority ethnic groups will have pride of place at the Wine of Festival the year 2000. Hungarian Heritage Volume 1 2000

Folk Dance Festivals and Folk Art Fairs

National Festivals Országos Nemzetiségi Fesztivál DATE: (National Ethnic Festival) September 30–October 1, 2000

VENUE: FOR INFORMATION, CONTACT: Ráckeve (Pest County) Mrs János Káré, Dózsa György Újévköszöntô Néptáncantológia Mûvelôdési Ház (Dancing in the New Year: DATE: 2191 Bag, Petôfi tér 1/a. A Medley of Folk Dances. Performed April 30, 2000 Phone: (36 28) 408-026, 408-018 by children, adults and authentic folk FOR INFORMATION, CONTACT: groups) Mr Gábor Budai VENUE: Ács Károly Mûvelôdési Központ Pécsváradi Leányvásár Erkel Színház, Budapest 2300 Ráckeve, Kossuth Lajos u. 51. (Pécsvárad Fair of Fair: (8th district, Köztársaság tér 30). Phone: (36 24) 385-220 Traditional “Bride Market”)

DATE: VENUE: Pécsvárad (Baranya County) February 12-13, 2000 Magyarországi Német Tánc- FOR INFORMATION, CONTACT: háztalálkozó és Kirakodóvásár DATE: Ms Éva Héra, Muharay Elemér (German Hungarian Táncház Festival September 30-October 1, 2000 Népmûvészeti Szövetség and Fair) FOR INFORMATION, CONTACT: 1011 Budapest, Corvin tér 8. VENUE: Fülep Lajos Mûvelôdési Központ Phone: (36 1) 201-4492; Pécs (Baranya County) 7720 Pécsvárad, Kossuth u. 31. Fax: (36 1) 201-5164 Phone: (36 72) 465-123 DATE: June 9-13, 2000 Vass Lajos Kárpát-Medencei Szekszárdi Néptáncfesztivál Népzenei Találkozó 2000 (Szekszárd Folk Dance Festival) (Lajos Vass Carpathian Basin Folk FOR INFORMATION, CONTACT: VENUE: Music Festival) Magyarországi Német Néptánchagyományok Ápolása Szekszárd (Tolna County) VENUE: Alapítvány Erkel Színház, Budapest Mr Helmut Heil (8th district, Köztársaság tér 30). 7621 Pécs, Szent István tér 8-10. DATE: Phone: (36 72) 332-688; May 1, 2000 Fax: (36 72) 310-041

FOR INFORMATION, CONTACT: Ms Rozália Kóka, Vass Lajos Hagyományôrzô Együttesek Népzenei Szövetség Országos Találkozója 1011 Budapest, Corvin tér 8. (National Festival of Authentic Folk Phone/Fax: Groups) (36 1) 201-5164 VENUE: Bag (Pest County)

102 For place names and regions, see the maps and the Gazetteer The Folk Scene in 2000 103 : : : CONTACT CONTACT CONTACT , , , : : : : : : ATE ATE ATE ENUE ENUE ENUE OR INFORMATION OR INFORMATION OR INFORMATION July 31-August 6, July 2000 F Mr Gábor Szûcs, Kulturális Folklór Alapítvány Víz u. 5100 1. Jászberény, (36 57) Phone/Fax: 411-294 V. Nemzetközi Nógrádi V. Folklórfesztivál Nógrád (Fifth International Folklore Festival) V Salgótarján (Nógrád County) D 26-31, July 2000 F Mrs Ruzsenka Baránek, Nógrád Turisztikai Közmûvelôdési Megyei és Intézet 3100 Salgótarján, Ruhagyári u. 9. Phone:(36 32) 432-101; (36 Fax: 32) 432-099 Csángó Az Fesztivál. Európai Kisebbségek Fesztiválja (Csángó A of Festival: Festival European Minorities) V Jászberény (Jász-Nagykun-Szolnok County) D Európa Fesztivál 2000. Európa Fesztivál Szegedi Nemzetközi Néptáncfesztivál 2000”, (“Europe Festival Szeged International Dance Folk Festival) V Szeged (Csongrád County) D 20–30, July 2000 F Mr János Simoncsics or Ms Erika Kolonics, Bartók Béla Mûvelôdési Központ 6720 Szeged, Vörösmarty u. 3. (36 62) Phone/Fax: 426-008 The Folk The Scene Folk Information in 2000—Practical : : CONTACT CONTACT , , : : : : : : ATE ATE ATE ENUE ENUE ENUE OR INFORMATION OR INFORMATION VI. Nemzetközi Vándor VI. Nemzetközi Cigánytánc Fesztivál (Sixth International Gypsy Nomadic Dance Festival) V Sátoraljaújhely (Borsod-Abaúj- Zemplén County) D 19-23, July 2000 F Lakatos, Tibor Hagyományôrzô Mr Cigány Egyesület 3980 Sátoraljaújhely, Köztársaság u. 29. Phone: (36 47) 321-211 (“Golden (“Golden Shell” Siófok International Festival) Folklore V Siófok (Somogy County) D 4-9, July 2000 information, For contact: Mr Péter Városi Polgármesteri Neisz, Hivatal 8600 Siófok, Fô tér 1. Phone: (36 84) 311-020; (36 Fax: 84) 311-3156 V Gyôr County) (Gyôr-Sopron-Moson D 1-2, July 2000 F Mr János Kakuk, Bartók Béla Megyei Mûvelôdési Központ Czuczor G. 9022 u. Gyôr, 17. Phone: (36 96) 326-522; (36 Fax: 96) 326-731 Kagyló” Nemzetközi “Arany Folklórfesztivál X. Nemzetközi Néptánc- és Népzenei Kézmûves Fesztivál, Vásár és Bemutató and International Festival Folk (Tenth Craft Fair) For place For names and regions, see the maps and the Gazetteer : : : CONTACT CONTACT CONTACT , , , : : : : : ATE ATE ATE ENUE ENUE OR INFORMATION OR INFORMATION OR INFORMATION F Mr László Magyar Felföldi, Akadémia Tudományos Zenetudományi Intézet Táncsics 1014 M. Budapest, u. 7. Phone: (36 1) 356-6858 or (36 1) 375-9011 (Eighth Finno-Ugric (Eighth Finno-Ugric Festival) Folklore V Székesfehérvár County) (Fejér D 20-26, June 2000 International International Festivals VIII. Finnugor Folklórfesztivál D 25, 2000 November F Mr Csaba Horváth, Kossuth Lajos Mûvelôdési Központ Táncsics tér 3. 3980 Sátoraljaújhely, Phone: (36 47) 321-727, 321-443 V. Kelet-Magyarországi V. Néptáncantológia Felnôtt Eastern (Fifth Dance Folk Hungarian for Festival Adults) V Sátoraljaújhely (Borsod-Abaúj- Zemplén County) F Mrs Júlia Kapási, Babits Mihály Mûvelôdési Ház 7100 Szekszárd, Mártírok tere 10. Phone: (36 74) 316-722 D 18-19, 2000 November Fax: (36 37) 312-283 37) Fax:(36 312-282; 312-281, 37) (36 Phone: 3. tere Barátok Gyöngyös, 3221 Központ Mûvelôdési Mátra Szilágyi, Erzsébet Ms F 2000 13-20, August D County) (HevesGyöngyös V Festival)Dance FolkInternational(Forth Gyöngyös Néptáncfesztivál IV.Nemzetközi“Gyöngy” 358-973 Phone/Fax:23) (36 5. tér 1 Május Százhalombatta, 2440 Alapítvány sége Örök- Magyarok Szigetvári, József Mr F 2000 12-22, August D (PestSzázhalombatta County), V Festival)Dance FolkInternational(“Sommerfest” Néptáncfesztivál Nemzetközi Sommerfest 385-220 24) (36 Phone: 51. u. Lajos Kossuth Ráckeve, 2300 Központ Mûvelôdési Károly Ács Budai, Gábor Mr F 2000 12-22, August D (PestRáckeve County) V FolkloreFestival) International Kis-Duna (Thirteenth Folklórfesztivál Nemzetközi Kis-Dunai XIII. 2000—Practicalin InformationFolk Scene The 104 RINFORMATION OR RINFORMATION OR INFORMATION OR ENUE ENUE ENUE ATE ATE ATE : : :

The Folk: Scene: in 2000: , , , CONTACT CONTACT CONTACT : : : For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace Dance Festival)Dance FolkHungarianMillennialCrown: Years(The Thousand the of Néptáncfesztivál Millenniumi éve. 1000 koronázás A 312-795 Phone/Fax:22) (36 6. Székesfehérvár,u. Malom8000 Botos, Táncház József Mr F 2000 15-20, August D (FejérCounty) Székesfehérvár V Festival)Dance Days”(“RoyalFolkInternational Néptáncfesztivál Napok”“Királyi Nemzetközi 323-425 95) Fax:(36 320-063; 95) (36 Phone: Sárvár,1. 9600 Várkerület Központ Mûvelôdési Kondora,István Mr F 2000 15-20, August D (Vas Sárvár County) V Sárvár) at Days (TwentiethFolkloreInternational FolklórnapokNemzetközi XX. International Folk Dance Festival)FolkDanceInternational Stephen’sSaint (Second Day Néptánctalálkozó NapiIstván Szent II. 463-544 66) (36 Phone: 35. sgt. Béke Gyula, 5700 Központ Mûvelôdési Általános FerencErkel Szatmári, Sándor Mr F 2000 17-21, August D County) (Békés Gyula V RINFORMATION OR INFORMATION OR RINFORMATION OR ENUE ENUE ENUE ATE ATE ATE : : : : : : , , , CONTACT CONTACT CONTACT : : : Nyári FesztiválNyári Nemzetközi X. Alpok-Adria 190011 64) Fax:(40 190096; 64) (40 Phone: Romania 18, Clinicilor (Cluj-Napoca),Kolozsvár 3400 Alapítvány HeltaiPillich, László Mr F 2000 17-21, August D (Cluj-Napoca,Romania)Kolozsvár V Phone: (36 30) 938-9879 30) (36 Phone: 41. u. HonvédNyíregyháza , 4400 Táncegyesület NyírségDemarcsek, György Mr or 206-9232 30) (36 Phone: Nyíregyháza,4400 Toldy23. u. Ház Mûvelôdési Bradács,Vasutas Mária Ms F 2000 18-26, August D County) Nyíregyháza(Szabolcs-Szatmár-Bereg V Festival)FolkDance NyíregyházaInternational(Third Néptáncfesztivál Nemzetközi Nyíregyházi III. 314-580 92) (36 Phone: 7-11. u. Kisfaludy Zalaegerszeg, 8900 Központ Ifjúsági és Mûvelôdési MegyeiBorosán, Gyula Mr F 2000 18-20, August D County) (Zala Zalaegerszeg V Festival)SummerInternational Adriatic: the Tenthto Alps (Fromthe RINFORMATION OR RINFORMATION OR INFORMATION OR ENUE ENUE ENUE ATE ATE ATE : : : : : : , , , CONTACT CONTACT CONTACT : : : The Folk Scene in 2000—Practical Information

IV. Mezôségi Népzene- és DATE: or Néptánctalálkozó April 1, 2000 Ms Éva Iglói, Petôfi Sándor (Forth Mezôség Folk Festival) FOR INFORMATION, CONTACT: Mûvelôdési Központ VENUE: Örökség Gyermek Népmûvészeti 2101 Gödöllô, Pf. 391. Szamosújvár (Gherla, Romania) Egyesület Phone: (36 28) 420- 977; 1074 Budapest, Akácfa u 32. Fax: (36 28) 420-978 DATE: Phone: (36 1) 322-2893 October 2000

FOR INFORMATION, CONTACT: Szomszédolás: X. Országos Mr Attila Balázs Bécsi, X. Országos Gyermek- és és Nemzetközi Gyermek Téka Mûvelôdési Alapítvány, Ifjúsági Néptáncfesztivál Néptáncfesztivál Archívum Kulturális Alapítvány (Tenth National Young People’s Folk (“Visiting Next Door”: Tenth 3475, Gherla, str. Mihai Viteazul, nr Dance Festival) National and International Children’s Folk Dance Festival) 39, Romania VENUE: Phone: (40 64) 24 36 98 Szeged (Csongrád County) VENUE: Debrecen (Hajdú-Bihar County) DATE: XI. Pécsi Folknapok. April 15-7, 2000 DATE: May 26-28, 2000 Nemzetközi Népzenei Fesztivál FOR INFORMATION, CONTACT: (Eleventh Pécs International Folk Ms Hedvig Orbán, Szászorszép FOR INFORMATION, CONTACT: Music Festival) Gyermekház Ms Katalin Koroknay, Kölcsey Ferenc VENUE: 6724 Szeged, Kálvin tér 6. Közmûvelôdési Tanácsadó és Pécs (Baranya County) Phone: (36 62) 420-278 Szolgáltató Intézet 4026 Debrecen, Kálvin tér 2/a. DATE: Phone: (36 52) 419-638; November 10-11, 2000 II. Országos Ifjúsági Fax: (36 52) 416-040 FOR INFORMATION, CONTACT: Néptánctalákozó Mr Antal Vizi, Pécsi Kulturális (Second National Young People’s Folk Központ Dance Festival) Pünkösdölô Országos Gyermekfesztivál 7621 Pécs, Színház tér 2. VENUE: Phone: (36 72) 310-783 (Whitsuntide Children’s Folk Dance Pápa (Veszprém County) Festival) or DATE: VENUE: Mr Miklós Vinter, April 28-30, 2000 Szekszárd (Tolna County) JPTE Mûvészeti Kar FOR INFORMATION, CONTACT: 7624 Pécs, Damjanich János u. 30. DATE: Ms Edit Varga, ÁFEOSZ June 3-4, 2000 Phone: (36 72) 501-539 1054 Budapest, Szabadság tér 14. Phone: (36 1) 331-0797, 353-4222 FOR INFORMATION, CONTACT: Ms Júlia Kapási, Babits Mihály Mûvelôdési Központ Gödöllôi Majális 7100 Szekszárd, Mártirok tere 10. Children’s Festivals (May Day in Gödöllô) Phone: (36 74) 316-722 VENUE: Gödöllô (Pest County) “Katica” Nemzetközi “Aprók Bálja” (XIX. Országos DATE: Gyermek Néptáncfesztivál Tánctalálkozó és Kirakodóvásár) April 29, 2000 (“Katica” International Children’s (Little Ones’ Ball at the National Folk Dance Festival) Táncház Festival) FOR INFORMATION, CONTACT: Örökség Gyermek Népmûvészeti VENUE: VENUE: Egyesület Mosonmagyaróvár (Gyôr-Sopron- Budapest, Budapesti Nemzetközi Vásár 1074 Budapest, Akácfa u. 32. Moson County) (Budapest International Fairgrounds) Phone: (36 1) 322-2893 105 (36 47) 321-443 47) (36 321-727, 47) (36 Phone: Sátoraljaújhely,3980 3. tér Táncsics Központ Mûvelôdési Lajos Kossuth Horváth, Csaba Mr F November2000 26, D County) Zemplén (Borsod-Abaúj- Sátoraljaújhely V People’sFestival)FolkDance HungarianYoungEastern (Second Néptáncantológia Ifjúsági és mek Gyer- Kelet-Magyarországi II. 321-443 47) (36 Phone: Sátoraljaújhely,3980 3. tér Táncsics TourinformIroda Zemplén és Központ Mûvelôdési Bodnár,Zsuzsanna Lajos KossuthMs F 2000 14-20, August D County) Zemplén (Borsod-Abaúj- Sátoraljaújhely V Festival) FolkDanceInternational (Zemplén Néptáncfesztivál NemzetköziZemplén 215-866 96) (36 Phone: Mosonmagyaróvár,9200 14. u. Engels Egyesület Keresztény,Gyula Mr Néptánc Lajta F 2000 June8-12, D 2000—Practicalin InformationFolk Scene The 106 RINFORMATION OR INFORMATION OR RINFORMATION OR ENUE ENUE ATE ATE ATE : : :

The Folk: Scene in: 2000 , , , CONTACT CONTACT CONTACT : : : For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace Folk TradesCrafts) and of NationalJuried(SixthExhibition Pályázat Mûvészete Mesterségek Népi Országos VI. 214-3523 Phone/Fax:1) (36 8. tér Corvin Budapest, 1011 Szövetsége Egyesületek Népmûvészeti Igyártó, Gabriella Ms F 2000 15, 13-October May D (TolnaDunaföldvár County) FaragóDunaföldváriGaléria, V 2000 3, 15-May April D 2.) tér Vigadódistrict, (5th PestiBudapest Galéria, Vigadó V Sculpture) Folkof (ForthNationalExhibition Kiállítás IV.Szobrászati Népi Országos Exhibitions RINFORMATION OR ENUE ENUE ATE ATE : : : : , CONTACT : Phone: (36 76) 327-203 76) (36 Phone: 19. u. Serfôzô Kecskemét. 6000 IparmûvészetiMúzeum Népi or 201-8734 1) (36 Phone: 6. tér Dezsô Szilágyi Budapest, 1011 Titkárság Ms TimeaMajor,Iparmûvészeti Népi F 2000 June9-September D 19.) u. Serfôzô Kecskemét. (6000 IparmûvészetiMúzeum Népi County), (Bács-Kiskun Kecskemét V Phone: (36 1) 201-8734 1) (36 Phone: 6. tér Dezsô Szilágyi Budapest, 1011 Titkárság Major,Ms IparmûvészetiTímea Népi F 2000 15, 12-SeptemberAugust D Mezôtúr V Ceramics) of (Eighth TriennialPotteryExhibition FazekasAlföldi VIII. Triennálé RINFORMATION OR RINFORMATION OR ENUE ENUE ATE ATE : : : : , , CONTACT CONTACT : : The Folk Scene in 2000 107 : : : CONTACT CONTACT CONTACT , , , : : : : : : ATE ATE ATE ENUE ENUE ENUE OR INFORMATION OR INFORMATION OR INFORMATION D April 12, 24-June 2000 F Megyei Vas Ms Ildikó Szommer, Múzeumok Igazgatósága Kisfaludy u. 9700 9. Szombathely, Phone: (36 94) 313-736, (36 94) 312-554 Húsvétolás a népi hagyo- mányok jegyében Tradition) (Easter in Folk V Ópusztaszer (Csongrád County) D April 23-24, 2000 F Történeti Nemzeti Ms Ágnes B. Nagy, Emlékpark Szoborkert 6767 68. Ópusztaszer, Phone: (36 62) 275-133 Hagyományôrzés 2000-ben. Jeles Múzeumfaluban Vasi a Napok 2000: in the Year (Traditionalism Holidays in the Vas Traditional Open-Air Ethnographic Museum) V County) Szombathely (Vas XIX. Országos Táncház- XIX. Országos találkozó és Kirakodóvásár Táncház (Nineteenth National and Fair) Festival Folk V Vásár, Budapesti Nemzetközi (Budapest International Fairgrounds) D April 1-2, 2000 F Mr Táncház István Egyesület Berán, 1011 Budapest, Corvin tér 8. Phone: (36 1) 214-3521 or Ms Gabriella Igyártó, Népmûvészeti Egyesületek Szövetsége 1011 Budapest, Corvin tér 8. (36 1) Phone/Fax: 214-3523 The Folk The Scene Folk Information in 2000—Practical : : CONTACT CONTACT , , : : : ATE ATE ENUE OR INFORMATION OR INFORMATION VII. Országos Textiles VII. Országos Konferencia Conference) Textile (Seventh National V Békéscsaba (Békés County) D March 10-12, 2000 F Mrs Miklós Pál, Békés Megyei Mûvelôdési Központ 5600 Békéscsaba, Luther u. 6. Phone: (26 66) 442-122; (36 Fax: 66) 445-765 D September 17-October 15, 2000 F Magyar Ms Katalin Beszprémy, Mûvelôdési Intézet 1011 Budapest, Corvin tér 8. Phone: (36 1) 201-4492; (36 Fax: 1) 201-5164 Other Events For place For names and regions, see the maps and the Gazetteer : CONTACT , : : : ATE ENUE ENUE OR INFORMATION V Budapest Népijáték és kismesterségek oktatói tanfolyam hallgatóinak munkái and Toys (Exhibition of Folk Handicrafts Made by Art Folk Future Instructors) V Budapest D August 18-September 13, 2000 F Magyar Ms Katalin Beszprémy, Mûvelôdési Intézet 1011 Budapest, Corvin tér 8. Phone: (36 1) 201-4492; (36 Fax: 1) 201-5164 A népmûvészet ifjú mestere pályázat díjnyertes alkotásai Winning (Exhibition Works of Award Master Craftsmen) by Young or Móricz Zsigmond Könyvtár és Közösségi Ház Szabadság tér 5400 17. Mezôtúr, Phone: (36 56) 350-075 Phone: (36 62) 275-133 62) (36 Phone: Ópusztaszer,68. 6767 Szoborkert Emlékpark Nagy,B. Ágnes Ms Nemzeti Történeti F 2000 June11-12, D County) (Csongrád Ópusztaszer V Folkin Tradition)(Whitsuntide jegyében ományok hagy- népi A – Pünkösdölés 84115 Fax:(421-818) 84158 (421-818) Phone: Martos/Martovce68. 661 94 Vecsey Szervezet Lajos CSEMADOK Katona, István Mr F 2000 June9-11, D (Martovce,Slovakia)Martos Park,Mûvelôdési FesztyÁrpád V Millennium)New a FolkFestivitiesfor (Whitsuntide Jegyében Millennium a Ünnepségek Népmûvészeti Pünkösdi Országos annak... esztendeje Ezer 2000—Practicalin InformationFolk Scene The 108 RINFORMATION OR RINFORMATION OR ENUE ENUE ATE ATE : :

The Folk Scene: in 2000: , , CONTACT CONTACT : : Phone: (36 62) 275-133 62) (36 Phone: Ópusztaszer,68. 6767 Szoborkert Emlékpark Nagy,B. Ágnes Ms Nemzeti Történeti F 2000 June24, D County) (Csongrád Ópusztaszer V Historical TraditionFair)Renaissance and Hungary’sof (“Hunnial”:Celebration sokadalom vásári ünnepség, ôrzô ományainkat hagy- történelmi Hunniális: 462-200 78) (36 Phone: 2-4. út István Szent Kalocsa, 6300 Központ Mûvelôdési Asperján, István Mrs F 2000 June23, D County) (Bács-Kiskun Kalocsa/Érsekkert V (Midsummer’sMerrymaking)Night mulatság Szentivánéji RINFORMATION OR INFORMATION OR ENUE ENUE ATE ATE : : : : , , CONTACT CONTACT : : Mesterségek Ünnepe Mesterségek 112-361 66) (40 Phone: and BorosTibor SinkaKároly Mr F 2000 July2, D ( Csíksomlyó V (“AGirls”Székely Festival) Thousand Leány TalálkozóSzékely Ezer September 23, 2000 23, September D County) (Bács-Kiskun Kalocsa V Festival(Paprika2000) Harvest Paprikaszüret2000 214-3523 Phone/Fax:1) (36 8. tér Corvin Budapest, 1011 Szövetsége Egyesületek Népmûvészeti Igyártó, Gabriella Ms F 2000 16-20, August D BudapestHill, Castle Buda V (Festivalof Trades Crafts) and RINFORMATION OR RINFORMATION OR ENUE ENUE ENUE ATE ATE ATE : : : : : : » umuleu, Romania) umuleu, , , CONTACT CONTACT : : :

The Folk Scene in 2000 109 , Ø : CONTACT , : : : : : MAIL ATE ATE ENUE ENUE OR FURTHER INFORMATION ABOUT OR INFORMATION ALL THESE EVENTS PLEASE CONTACT F Ms Éva Héra Magyarországi Folklórfesztiválok Szövetsége 1011 Budapest, Corvin tér 8. Hungary Phone: (36 1) 201-4492; (36 Fax: 1) 201-5164 E- [email protected] V Marosvásárhely (Tîrgu-Mure Romania) D 28-30, July 2000 V Square) Budapest (Heroes’ D August 17-20, 2000 F Honvéd Együttes Mr Antal Stoller, 1087 Budapest, Kerepesi út 29/b Phone: (36 1) 210-000, (36 1) 333-9583 The Folk The Scene Folk Information in 2000—Practical : : : : : : : : : : ATE ATE ATE ATE ATE ENUE ENUE ENUE ENUE ENUE July 21-23, July 2000 D 1-2, 30-July June 2000 V Pécs (Baranya County) D 7-9, July 2000 V Kolozsvár Romania) (Cluj-Napoca, D 14-16, July 2000 V (Komárom-Esztergom Komárom-Tata County) D Millenniumi Millenniumi Sokadalom: A Kárpát-medence népmû- vészetének, hagyományainak, mesterségeinek ünnepe (Celebrating the New Millennium: of the Traditions Crafts Folk and Carpathian Basin) V Diósgyôr (Borsod-Abaúj-Zemplén County) D 23-25, June 2000 V Gyula (Békés county) For place For names and regions, see the maps and the Gazetteer : : : : CONTACT CONTACT CONTACT CONTACT , , , , a, Romania) µ : : : : : : ATE ATE ATE ENUE ENUE ENUE OR INFORMATION OR INFORMATION OR INFORMATION OR INFORMATION F Mr Miháıly András Sinka or Tibor Mr Phone: (40 66) 171 362 (Fourth Festival Transylvanian of Festival (Fourth Fiddlers) V Csíkszereda (Miercurea-Ciuc, Romania) D 25-26, 2000 November F Mr Mihály András Phone: (40 66) 171 362 Prímások Erdélyi Találkozója IV. V. Mezôségi Népzene és V. Néptáncfesztivál Festival) Mezôség Folk (Fifth V Vice (Vi D September 30 F Mr Csaba Horváth, Kossuth Lajos Mûvelôdési Központ Táncsics tér 3. 3980 Sátoraljaújhely, Phone: (36 47) 321-727, (36 47)321-443 (Wine Festival (Wine and Fair) Festival Food V Sátoraljaújhely (Borsod-Abaúj- Zemplén County) D September 28-30, 2000 “A Bor Napja” Hegyaljai Bor Napja” “A Vigasság és Szüreti Bemutató Gasztronómiai F Mrs István Asperján, Mûvelôdési Központ 6300 Kalocsa, Szent István út 2-4. Phone: (36 78) 462-200 Hungarian Heritage Volume 1 2000

Hungarian Folk Dance and Folk Music Camps in Hungary and Romania

IX. Nemzetközi Gyimesi DATE: 5100 Jászberény, Víz u. 1. Népzene- és Néptánctábor July 12–20 and 22–30, 2000 Phone/Fax: (36 57) 411-294 (Ninth Gyimes Folk Music and Folk FOR INFORMATION, CONTACT: Dance Camp) Mr Gyula Stock IX. Mezôségi Népzene-, VENUE: II. Rákóczi Ferenc Mûvelôdési Néptánctábor Gyimesközéplok Központ (Ninth Mezôség Folk Music and Folk (Lunca de Jos, Romania) 4320 Nagykálló, Bátori u. 1. Dance Camp) Phone: (36 42) 263-141 DATE: VENUE: July 23-29, 2000 Válaszút (R±scruci, Romania) FOR INFORMATION, CONTACT: X. Kalotaszegi Népzene-, és DATE: Mr Mihály András and Zoltán Szalay, Néptánctábor August 6-13, 2000 Hargita Állami Székely Népi Együttes (Tenth Kalotaszeg Folk Music and Csíkszereda (Miercurea-Ciuc) 4100, Folk Dance Camp) FOR INFORMATION, CONTACT: Szabadság tér 16/49, Romania Ms Ildikó Németh, Kallós Zoltán VENUE: Phone: (40 66) 071 362 Alapítvány Kalotaszentkirály (Sîncraiu, Romania) 3400, Cluj-Napoca, B-dul. 21 Decembrie 1989, nr 16, jud. III. Maros-Küküllô-menti DATE: July 30-August 6, 2000 Cluj-Napoca, Romania Népzene- és Néptánctábor Phone: (40 94) 800 533; (Third Maros-Küküllô Folk Music FOR INFORMATION, CONTACT: Fax: (40 64) 198 813 and Folk Dance Camp) Ms Ildikó Németh, Archívum VENUE: Kulturális Alapítvány Magyarlapád (Lopadea Nou±, 3400, Cluj-Napoca, XI. Pécsi Német Néptánctábor Romania) str. Gh. Dima, nr 22/23 (Eleventh Pécs Hungarian German Phone: (40 94) 800 533 Folk Dance Camp) DATE: Fax: (40 64) 198 813 July 9-16, 2000 VENUE: FOR INFORMATION, CONTACT: Pécs (Baranya County, Hungary) Ms Ildikó Németh, Etnikai Kulturális XIX. Nemzetközi Táncház- és DATE: Alapítvány Zenésztábor August 14-20, 2000 3331, Lopadea Nou±, nr 8, jud. Alba- (Nineteenth Jászberény International FOR INFORMATION, CONTACT Romania Táncház and Folk Music Camp) Mr Helmut Heil, Magyarországi Phone: (40 94) 800 533 VENUE: Német Néptánchagyományok Fax: (40 64) 198 813 Jászberény (Jász-Nagykun-Szolnok Ápolása Alapítvány County, Hungary) Pécs, Szent István tér 8-10, Harangodi Hagyományôrzô Tábor Hungary, H-7621 (Harangod Traditionalist Folk DATE: July 30-August 6, 2000 Phone: (36 72) 332-688; Summer Camp) Fax: (36 72) 310-041 FOR INFORMATION, CONTACT: VENUE: Nagykálló/Harangod (Szabolcs- Mr Gábor Szûcs, Jászság Népi Szatmár-Bereg County, Hungary), Együttes

110 For place names and regions, see the maps and the Gazetteer Hungarian Heritage Volume 1 2000

Where You’ll Find a Táncház

On Tuesdays At the Marczibányi téri Mûvelôdési ADDRESS: Központ Budapest, 11th district, Children’s Táncház with the Fehérvári út 47. Muzsikás Band ADDRESS: Budapest, 2nd district, Phone: (36 1) 203-3868 From September to the end of May, Marczibányi tér 5/a. 5:30 to 6:30 p.m. Phone: (36 1) 212-0803 “Ghymes Klub” (World Music Club) INSTRUCTORS: On the first Thursday of the month, Piroska Várkonyi Southern Slavic Táncház with the 8:00 p.m. on and Ernô Bakonyi Kolo Band At the Fonó Budai Zeneház At the Fôvárosi Mûvelôdési Ház 6:30 p.m. on ADDRESS: ADDRESS: At the Ferencvárosi Budapest, 11th district, Sztregova u. 3. Budapest, 11th district, Mûvelôdési Ház Phone: (36 1) 206-5300 Fehérvári út 47. Phone: (36 1) 203-3868 ADDRESS: Budapest, 9th district, Haller u. 27. Phone: (36 1) 216-1300 On Fridays On Wednesdays “Tanac”: Southern Slavic Hungarian Táncház “Táncház a Fonóban”: Hungarian Táncház with the Vizin Band with the Üsztürü Band Táncház with the Ökrös, Tükrös On the last Wednesday of the month, From the end of September and the Berko bands, and with 7:30 to 11:00 p.m. to the end of May, guest performers 6:00 p.m. to 1:00 a.m. on INSTRUCTOR: 8:00 p.m. on József Szávai INSTRUCTORS: At the Fonó Budai Zeneház At the Ifjúsági Ház László Csatai, “Csidu” and Orsolya Strack ADDRESS: ADDRESS: Budapest, 11th district, Pécs, Nagy Lajos király útja 13. At the Ferencvárosi Mûvelôdési Sztregova u. 3. Phone: (36 72) 330-211 Központ Phone: (36 1) 206-5300 ADDRESS: Budapest, 9th district, Haller u. 27. “Guzsalyas”: Gyimes and Phone: (36 1) 216-1300 Moldavian Táncház with the On Thursdays Tatros Band Moldavian Táncház with the Hungarian Táncház From September Csürrentô Band with the Csík Band From September to mid-June, on every to June 28, 8:00 p.m. to 1:00 a.m. From October to the end of May, one second Thursday, 7:00 p.m. on INSTRUCTOR: Friday of a month Attila Fülöp At the Fôvárosi Mûvelôdési Ház (Municipal Cultural Center)

For place names and regions, see the maps and the Gazetteer 111 Kolo Band Kolo the Slavicwith Southern Táncház 311-954 36) (36 Phone: 8. u. Eger,K. Knézich A Központ MegyeiMûvelôdési the At and BarsiTekla Csaba Várkonyi I on p.m. 7:00 month, a Fridayof mid-May,Fromto September one KerekesBand the with Táncház Csángó Moldavian and Gyimes 206-5300 1) (36 Phone: 3. Sztregovau. district, 11th Budapest, A ZeneházFonóBudai the At on p.m. 8:00 month, the Fridayof first the On Band Zurgó the with Csángó MoldavianTáncház 410-094 36) (36 Phone: 16. Eger,út Széchenyi A Ház Ifjúsági the At and BarsiTekla Csaba Várkonyi I on p.m. 7:00 month, a Fridayof One BandGajdos the Hungarianwith Táncház 484-594 76) (36 Phone: 1. FerencDeáktér Kecskemét, A Központ FerencErdeiMûvelôdési the At Lukács László and Haránt Eszter I 2000—Practicalin InformationFolk Scene The 112 Ház Mûvelôdési the At May Fromto September NSTRUCTORS NSTRUCTORS NSTRUCTOR DDRESS DDRESS TheDDRESS Folk SceneDDRESS in 2000 : : : : : : : For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace 11:00 p.m. to 2:00 a.m. 2:00 to p.m. 11:00 All”), for (“Fun vigadalom”“Össznépi Pál Mihály and Redô Júlia I p.m. 8:30 to 7:00 adults: for instruction Folkdance Fábián Éva I p.m. 6:00 to 5:00 (Children’s Táncház), “Apróktánca” mid-May Fromto mid-September Band Kalamajka the with Hungarian Táncház SaturdaysOn 206-5300 1) (36 Phone: 3. Sztregovau. district, 11th Budapest, A ZeneházFonóBudai the At on p.m. 8:00 month, the Fridayof last the On Band Martenyica the with “Rila”:Balkan Táncház 941-4575 20) (36 479-284, 24) (36 Phone: 66. u. L. Kossuth Tököl, A NSTRUCTORS NSTRUCTOR DDRESS DDRESS Photo: NamiOtsuka,Foundation. Photo: Táncház Belvárosi the 1999. in Budapest in Ház Ifjúsági at Band Kalamajka the with Táncház sirülôje”. kettös “Gyimesi : : : : At the Belvárosi Ifjúsági Ház Ifjúsági Belvárosi the At At the “Táncház” the At p.m. 11:00 to 7:00 adults: for Táncház p.m. 7:00 to 6:00 “Apróktánca” (Children’s Táncház), Saturdaysecond every June,on early Fromto September Hungarian Táncház 11. 317-5928/ext. 1) (36 Phone: 9. u. Molnár district, 5th Budapest, A Phone: (36 1) 243-2433 1) (36 Phone: 5. tér Csobánka district, 3rdBudapest, A Ház Közösségi Békásmegyeri the At Szántai Levente I p.m. 6:00 to 5:00 Saturday,second mid-June,every Fromto September Band Kolompos the with Children’sHungarian Táncház 903-5128 30) (36 Phone: 8. u. Dezsô Bokányi Kiskunhalas, A Háza) (Közösségek Központ Mûvelôdési Kiskunhalasi the At on p.m. 8:00 month, Saturdaya mid-May,Fromto mid-August a BandÖrdöngôs the Hungarianwith Táncház 312-795) 22) (36 Phone: 6. Székesfehérvár,u. Malom A NSTRUCTOR DDRESS DDRESS DDRESS DDRESS : : : : : The Folk Scene in 2000 113 : : : : DDRESS DDRESS DDRESS NSTRUCTOR From September to mid-May, September to From mid-May, 10:00 to noon I Ildikó Sándor At the Marczibányi téri Mûvelôdési Központ A Budapest, 2nd district, Marczibányi tér 5/a. Phone: (36 1) 212-5504 Táncház Greek with the Sirtos Band 6:00 p.m. on At the Almássy téri Szabadidô Központ A Budapest, 7th district, Almássy tér 6. Phone: (36 1) 352-1572, 342-0312 Hungarian Children’s Táncház Hungarian Children’s with the Mezô Band September to From mid-May, 10:00 to noon At the Cserepesház A Budapest, 14th district, u. 28/b. Vezér Phone: (36 1) 363-2656 Táncház Hungarian Children’s with the Kárpátia Band The Folk The Scene Folk Information in 2000—Practical : : : Photo: Táncház Foundation. Photo: DDRESS DDRESS NSTRUCTOR Hungarian Táncház with Folk Hungarian of Musicians Pécs and guest bands September to From everymid-June, 7:00 to 12:00 second p.m. Sunday, tánca” “Aprók Táncház), 5:00 p.m. on (Children’s Mûvelôdési Ház At the Vasutas A Váradi Antal Pécs, u. Dr. 7/2. Phone: (36 72) 310-037 I Zoltán Palkovics At the Józsefvárosi Klub A Budapest, 8th district, Somogyi Béla u. 13. Phone: (36 1) 318-7930 For place For names and regions, see the maps and the Gazetteer : : DDRESS DDRESS On On Sundays Táncház Hungarian with the Méta Band September to From the end of May, 7:00 to 12:00 p.m. Táncház Children’s from 5:00 p.m. on A Budapest, 15th district, Eötvös u. 64-66. Phone: (36 1) 307-6191 Kecskemét, Kecskemét, Gáspár A. u. 11. Phone: (36 76) 481-469 Táncház with the Greek Band Maskarades October From to (closed mid-June in 6:00 January), every second Saturday, to 10:00 p.m. At the Csokonai Mûvelôdési Központ From October From to the end of May, every second Saturday, 3:30 to 5:30 p.m. At the Szórakaténusz Játékmúzeum és Mûhely A Hungarian Children’s Táncház Hungarian Children’s with the Hegedûs Band Hungarian Heritage Volume 1 2000

Gazetteer

Alföld, Nagy-Alföld (Great Hungarian Plain): a flat, fer- Bukovina: formerly a part of the Habsburg Empire, tile steppeland broken up with floodplain groves and today a part of Romania, it once had a sizeable Hungarian swamps in the central part of the Carpathian Basin. The population in the five villages—Fogadjisten, Istensegíts, part of the plain between the Danube and the Tisza rivers Hadikfalva, Andrásfalva, and Józseffalva—settled by the is generally distinguished from the region east of the Tisza, few thousand Székelys who fled there from Transylvania in called the Tiszántúl (qq.v.). Population density and the 1763-64 to avoid being drafted as border guards. In later composition of the region’s population have varied greatly centuries, the Székelys left Bukovina in successive waves of over the centuries, and have been as much influenced by emigration, and settled in various places: along the Lower changes in its physical geography (due to irrigation and Danube (aldunai székelyek), in Bácska, in southwestern swamp drainage projects, for instance) as the vicissitudes of Hungary, in various parts of Transylvania, and in the history. The Alföld is suited for grain farming and animal United States and Canada. All these group are still referred husbandry (with the tanya, an isolated farmstead, as the to as “Bukovina Székelys”. typical settlement type), as well as market gardening (fruit, grapes, root crops and leafy vegetables, onions, peppers, Csallóköz: a distinct region of the Kisalföld (qq.v.), the and tobacco are all grown). largest island of the Danube lying on the northwestern borders of Hungary. It has a predominantly Hungarian- Bakony: the region in the central Dunántúl (qq.v.) speaking population; after the First World War, it became named for the largest mountain range north of Lake a part of what was then Czechoslovakia; today, it is a part Balaton. A closed, contiguous stretch, it was a piece of of Slovakia. Characterized by state-of-the-art agricultural untouched nature until the late nineteenth century. Its methods (in market gardening, wheat growing, and animal population has preserved many archaic customs and mores husbandry alike), and a peasantry who made the most of to this day. Extensive animal husbandry is the typical form the proximity of the markets of Vienna and Bratislava, the of agriculture, and the woods are good for berrying. In region was known for its highly-developed middle-class times past, the region was famed for its glass blowers, and peasant culture. its precision-instrument makers. Dunántúl (Transdanubia): a major geographical region Balaton-felvidék: the rolling uplands on the northern in the western half of Hungary lying to the south and west shore of Lake Balaton, including the south-facing slopes of of the Danube, between the eastern reaches of the Alps the Bakony Mountains overlooking the lake. The area has and the Mura and Dráva rivers. Extraordinarily varied always been densely populated by a peasantry originally topographically, it is the most densely populated part of belonging to the lesser nobility, and boasts a highly devel- Hungary. The ethnic composition of the population oped folk culture. One of the country’s historical wine- reflects the population movements that have been a part of growing regions, it has a thriving wine industry. the region’s checkered history. Its folk culture mirrors both an open-minded receptivity to the latest and the best, and

114 For place names and regions, see the maps and the Gazetteer ’ ,

Gazetteer 115 hajdús hajdús Gazetteer -type set- hajdú towns” founded towns” hajdú communities continued, settlements extended in a hajdú hajdú ), originally the district encompassing the towns”; towns”; more from broadly, 1876 to 1950, —who contracted, in perpetuity, to fight for fight to perpetuity, in contracted, —who a historical/ethnographic region in the central the in region historical/ethnographic a qq.v. a forested region of deep valleys and gorges in an area of eleven villages between two streams hajdú hajdús Hetés: Hajdúság: Göcsej: for generations, to petition the courts for the recognition of recognition the for courts the petition to generations, for their old liberties. Some of the “old self-gov- to right their back won finally troops Bocskay’s by ernment, and, in 1790, were recognized as the “Hajdúke- rület”, an autonomous administrative unit independent of the county system. Tiszántúl Tiszántúl ( six “old Hajdu County with Debrecen as its center. The who the protected Hungarian originally armed “cowherds” livestock exported on foot from marauding other armed bands, Turks served as and mercenaries during the cen- set- Bocskay István occupation. Ottoman of half a and tury the tled him in times of war—on his own lands, and bestowed on i.e., all from exemption feudal nobility”, them a “collective dues and services. The semi-circle from southern Bihar to the mouth of the Sajó and Hernád rivers; there were also certain tlements in the Dunántúl and The Transylvania. respected were liberties, officially though recognized, never in practice until they supported Francis II Rákóczi against the of beginning the at serfdom to Reduced Habsburgs. the eighteenth century, many Western Western Hungary, in the southwestern Originally a County. military frontier zone, its later popu- part of Zala lation was dominantly of the middle and lesser nobility. in farm land, Poor the has region preserved some uniquely archaic methods of agriculture: burning the brush to clear the land, the cultivation of some prehistoric grains (millet longer no is that viticulture of form a and buckwheat), and practiced in any other part of Europe. neighboring Göcsej in southwestern Hungary. Western Zala County, in 1920 by the Treaty of Trianon, the term “Felvidék” has come to refer only to the and Hungarian Slovak-inhabited parts of Upper Hungary that now belong to Slovakia, as Slovakia. in lies now that Kisalföld the of part the to as well For place For names and regions, see the maps and the Gazetteer the valley of the Fekete-Körös River Fekete-Körös the of valley the a region in the upper reaches of the (Upper (Upper Hungary; formerly called Felfôld, or (Transylvania): a historic region in the southeast- (Transylvania): Felvidék Felsô-Tiszavidék: Fekete-Körös völgy: Fekete-Körös Erdély in the western half of Transylvania, stretching to the Alföld. the to stretching Transylvania, of half western the in Hungarian population, The though region’s decimated by the Ottoman wars of the sixteenth and seventeenth centuries, survived as an ethnic enclave, and preserved intact its archaic folk culture and dialect. Tisza River in northwestern Hungary, considered as unique as considered Hungary, northwestern in River Tisza for its distinctive form of folk architecture. Felsômagyarország): Felsômagyarország): the mountainous northern part of historical Hungary, i.e., the northernmost part of Hungarian-speaking regions of the the Carpathian Basin. It was only in the late nineteenth century that “Felvidék” the came term to be in dismemberment a Hungary’s Since “Felsômagyarország”. synonym for “Felföld” and ern part of the Carpathian Basin in what is today Romania, today is what in Basin Carpathian the of part ern bounded by the Carpathian Mountains on the north and east, the Alps Transylvanian on the south, and the Bihor came region the of more and More west. the on Mountains to be inhabited by Magyars from the tenth century subsequently, Germans on; (Saxons) and Romanians also settled there. administrative unit (a principality) several times Transylvania through- was out its history; it was a part of Hungary at various times, an and, in has the final- aftermath of War, the World Second independent ly become complex a ethnic part composi- of Its Romania. cul- folk tion had made it a point of intersection of various tures (Hungarian, Romanian, and German), as composite well of as diverse socio-economic formations (demes- nial villages, free rural communities enjoying various pre- rogatives, and free towns). As the periphery of Hungarian folk culture, Transylvania has preserved—in its material culture, folk motifs, folk tales, language and customs—a great many archaisms that are telling vestiges of its former West. the met Balkans) (the East the where point the as role a strong sense of tradition. Some of chief Hungary’s cultural, religious and administrative centers have evolved in the Dunántúl, and are the nuclei of prosperous cities. Gazetteer 116 al development since the Late Middle Ages. Middle Late the since development al social cultur- folk of vanguard the of in been has and organization, elements archaic some retained has relics, rial sophistication. It is a outstanding region rich in folk tradition an and mate- showed instance, for region, the of riors the mostdeveloped thepeasanthomeinte- inthecountry: among was culture folk its when ization. times wereThere urban- of facilitator great a trade, transit of center main a thanks to the communications lines along the Danube, and Basin, Carpathian the to gateway the was it Conquest, the of time the of Magyars the of settlement of areas principal the of One plains. drier,terraced of partly and tributaries, loessial floodplain of the Danube and Rába rivers and their the of partly consisting Hungary, northwestern in Basin iz, yn bten h suhr otkrs f Budapest of outskirts southern the between lying Tisza, in the region. the in Hungariancultureof developmentfolk the in role major a played have Kárpátalja the of regions wine-growing tional economy.tradi- national The the to substantially tributed con- has region this in mining and industry lumber the morerecently,transhumance; practiced and land, the clear to brush the burned locals the past, the the In VereckePass). (through Basin Carpathian the into cross to region Mountains. Some of the conquering Magyars traversed this Carpathian the the Tiszabetweenand region the Ukraine, graphics, as well as the art of the Gödöllô School. Gödöllô the of art the as well as graphics, and architecture, arts, Nouveauapplied Art Hungarian on and influence Europe, considerable had whole a throughout as art folk Kalotaszeg famed was Kalotaszeg of embroidery The 1880s. the in such as art folk Hungarian of vogue the was Kalotaszeg folk art that opened the door to the discovery of It woodcarving). and embroidery wear,peasant (architecture, art folk varied and rich its for famous is region The handicrafts. and raising, beef-cattle are mostly farmers, with some people employed in logging, of west the Kolozsvár/Cluj in Transylvania. The to peasants of the villages villages Calvinist Hungarian-speaking Kisalföld: Kárpátalja: Kalotaszeg: Kiskunság: Gazetteer mjr egahcl ein n h Danube the in region geographical major a mjr ein ewe Dnb ad the and Danube between region major a oiia ad diitaie ein f the of region administrative and political hsoia/tngahc ein f forty of region historical/ethnographic a For place names and regions, see the maps and the Gazetteer the and maps the see regions, and names Forplace as market gardening, and to farming on farming to and gardening, market as such agriculture of forms intensive more to switch a been has there centuries, recent more in husbandry; animal sive it had a population typically engaged in exten- farther off), even or proper, settlement the surrounding on land of were strips buildings farm and farms (the type settlement the of towns market of series a of here.Consisting settled who Cumans the after named Szeged, and always been on a par with the middle class. middle the with par a on been always has peasantry Kiskunság the speaking, Culturally steads. er hs en uh nlecd y t (Orthodox) its by influenced neighbors. Romanian much been has wear) peasant (e.g., lifestyle and language its but features, tural The population. Csángó community has retained a great many archaic cul- Hungarian-speaking its comprise MoldavianMagyars,Romania.or of Csángós, The part a a still later principality.then and Today, home, voivodeship Romanian is it temporary Cumans’ the became it Later, Basin. Carpathian the to way their on Magyars Carpathians, the last transitional home of the conquering course of the nineteenth century.nineteenth the of course their embroidery and celebrated Matyó peasant wear in the evolved Matyós the communities, traditionalist Strongly home. from far laborers agricultural as work seasonal on proper,later,settlements took and the from distance some at lands rented working living their made They centuries. nineteenth and eighteenth the in only group ethnographic distinctive a became largely communities, of neighboring Calvinist sea a in Catholics Roman Matyós, the tants, inhabi- County.The Borsod of half western the in Tisza the and Sajó vesd, the Tardby Szentistván—bounded and of self-identification. of purposes for population Hungarian local the by duced intro- was it term, post-Trianon A (Lendava). Lendva Alsó- of town the on centered communities and lages vil- Hungarian-speaking of group the is it Slovenia, ern Moldva Matyóföld: Lendva-vidék: (Moldavia): a region at the foot of the Eastern the of foot the at region a (Moldavia): he nihoig settlements—Mezôkö- neighboring three a part of the Muravidék in northeast- in Muravidék the of part a tanya szálláskertes s, or farm- or s, Gazetteer 117 Gazetteer , which was which , szék ), bounded by the Tisza, the Tisza, the by bounded ), qq.v. the region inhabited by the Székelys in the (Slavonia): lying to the east of Zagreb between Zagreb of east the to lying (Slavonia): (Transtisza): a major of in region Hungary the (Transtisza): (Voivodina): (Voivodina): a region of historical Hungary; Szlavónia Tiszántúl Vajdaság Székelyföld: northeastern Romania corner (periodical- of Transylvania, it has enjoyed autonomy ly, throughout its as long history, The a part at of times, Hungary and at times of Romania). the is Székelyföld the of unit administrative the local equivalent of the but “county”, free of all feudal the Székelyföld falls into var- Topographically, obligations. ious sub-regions: there are river valleys, mountain alluvial ranges plains, and basins. Farming and animal bandry are the hus- main forms of making a living, but handicrafts also play on an the important outer part. limit Lying of the Hungarian-speaking part of the Carpathian Basin, the Székelyföld has a folk culture rich in archaic elements, and folk poetry, carved wooden buildings, and wear which are in the peasant authentic folk Hungarian tradition. the Dráva and Száva rivers, the region today is a part of Croatia. It had been an Kingdom autonomous of Hungary, and then unit a military within frontier zone. the Land was once plentiful, and led to a deal great of popula- population Hungarian-speaking present The mobility. tion lives scattered throughout the region, and as a contiguous Danube. the of bank right the on villages four in settlement Maros and the Transylvanian Alps. troubled historyIts has Transylvanian and Maros the resulted in a great deal of population movement; the with emigration, and it immigration of area major a been has along areas higher-lying the in located generally settlements the river banks. eastern part of the Alföld ( Alföld the of part eastern today, an autonomous today, province and of Yugoslavia, the area lives. now population Hungarian Yugoslavia’s of most where , in settle- villages ), and the kunok ) along the tanya ) which today qq.v. pákász —built on hill- qq.v. settlement type qq.v. szerek szeres For place For names and regions, see the maps and the Gazetteer ) and the Ôrség ( a region in the northeastern tip of a region of the Tiszántúl ( Tiszántúl of the a region qq.v. making a living off the fens by fishing, trap- a low-lying, marshy flood-plain of the lower (Marches): (Marches): a historical/ethnographic region in Sárköz: Ôrség Nagykunság: Muravidék: pákászkodás: belong to Slovenia. Slovenia, Slovenia, stretching left of and home of Magyars. the Muravidék border, Hungarian the Mura River to Its sub-regions the include the Lendva-vidék ( parts of Hetés ( central Tisza, named after the Cumans ( Hungarian). Hungarian). The rolling loess plains of the region were excellent for extensive animal husbandry. Its prosperous peasant middle class gave preference to the ment structure, to the cultivation of forms intensive and more to more and gradually, (maize), wheat and corn of raising livestock. Danube Danube located in the Belgrade, and Buda between Dunántúl, route trade river old the Along south of Szekszárd. it has always been a highly developed region. swamps After the were drained, the fishing ( and ping amphibious rodents and waterfowl, and gathering (medicinal) plants, eggs and feathers) switched to are wheat region the in grown grapes The viticulture. and farming among the country’s best. The peasantry of the and prospered kept pace with the middle class, cultivating, Sárköz at the same time, its celebrated folk art and peasant wear. tops). The region’s Subalpine climate has had a decisive influence on agricultural practices, which include burning the brush to clear the land, use the of intensive natural fer- tilizers, and cattle raising. The Ôrség has always played a major role as food supplier to Austria, and was one of the first regions to have a prosperous middle class. Western Hungary, at the Hungary, source of Western the An Zala River. area of table-lands carved up by water-courses, it is rich in pre- cipitation, and has some its indicates), name its (as zone frontier military a Formerly wonderful evergreen forests. population enjoyed administrative autonomy from start. the Typical of the Ôrség is the (small, self-contained communities—