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The Contemporary Folk Music Scene in Budapest: Explorations of Revival and Post-Revival

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The Contemporary Folk Music Scene in Budapest: Explorations of Revival and Post-Revival THE CONTEMPORARY FOLK MUSIC SCENE IN BUDAPEST: EXPLORATIONS OF REVIVAL AND POST-REVIVAL. NAOMI BATH ROYAL HOLLOWAY, UNIVERSITY OF LONDON THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC. 1 Declaration of Authorship I ………………………………… hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ………………………………… Date: …………………………………… 2 Acknowledgements First and foremost, I would like to thank my PhD supervisor, Prof. Rachel Beckles Willson. Her guidance, wisdom and encouragement have been invaluable during the course of this research. I would also like to thank the Music Department at Royal Holloway, University of London, especially Prof. Julie Brown in her capacity as Director of Graduate Studies. I acknowledge that this research would not have been possible without the funding from the Arts and Humanities Research Council, as well as the financial support from the Royal Holloway Music Department. I am exceedingly grateful to all the interviewees who gave up their time and shared their knowledge and opinions with me. Thanks are also due to everyone who contributed to both my research and my personal experience of Budapest – a place for which I have a deep affinity. In particular, the counsel I received from Dr Ildikó Sándor and Dr István G. Németh was especially helpful. I would also like to thank my two Hungarian language teachers – Dr Eszter Társoly at UCL SSEES (London), and Linda Rubesch in Budapest. Both teachers were incredibly helpful and patient in my attempts to master this fascinating language. Finally, further thanks must go to my family and friends. I am grateful in particular to my parents and my boyfriend for their unwavering support. 3 AbstrAct This thesis presents an ethnographic analysis of the contemporary folk music scene in Budapest, based primarily on fieldwork in the city between 2013-2015. It draws on concepts from ethnomusicology, cultural studies and popular music studies, while sustaining a particular focus on the frameworks of 'revival' and 'post-revival’. To begin, I examine one of the most problematic aspects of folk music in Hungary: its role in the construction of national identity and in the mediation of ‘Hungarianness’ (magyarság). Taking into account recent shifts in political ideology, I scrutinise certain governmental processes that seek to redefine folk music as national heritage. In so doing, I consider the emerging tension between a tendency towards nationalist preservation compared to prevalent globalising forces in the twenty-first century. Turning to ‘revival’ and ‘post-revival’ frameworks more explicitly, I first acknowledge the new wave of popularity that has permeated Budapest’s folk scene in recent years, and then identify ways in which the contemporary folk scene has changed since the first folk revival in the 1970s (the dance house movement). In my discussion, I investigate the professionalization of folk musicians bolstered by educational initiatives and an industry-based infrastructure, the transformation of the urban folk scene, and the diversification of musical styles relating to folk music to the point where some might be considered ‘trendy’. I question the continued use of Livingston's (1999) revival model and explore more recent contributions to revival theory. In particular, I analyse key criteria of ‘post-revival’ as advocated by Bithell and Hill (2014) and consider their relevance to the Hungarian case. Enriching my discussion, I draw from similar studies of contemporary folk music scenes in England, Greece, America and Finland and probe alternative terms put forward by scholars, including, ‘resurgence’ and a ‘second revival’. 4 TAble of Contents List of Figures……………………………………………………………………………………………………………….7 List of Hungarian Terms……………………………………………………………………………………………….9 1. Introduction…………………………………………………………………………………………….11 Methodology………………………………………………………………………………………………….14 Methods…………………………………………………….…………………………………………………..20 Placing Budapest in Europe…………………………………………………………………………….26 Folk…………………………………………………………………………………………………………………32 Revival and Post-Revival…………………………………………………………………………………44 Thesis Overview………………………………………………………………………………………………55 2. PlAcing Folk Music in HistoricAl And Contemporary Budapest……………………58 Contemporary Political Context………………………………………………………………………59 Historical Perspectives……………………………………………………………………………………62 Magyarság and Folk Music in Hungary Today………………………………………………..72 Magyarság on the World Stage………………………………………………………………………89 Concluding Remarks……………………………………………………………………………………….95 3. RevivAl And Post-RevivAl As FrAmes for Hungarian Folk Music in the City….97 The Dance House Movement (Táncházmozgalom)……………………………………......98 40 Years of Táncház……………………………………………………………………………………..105 Framing the Contemporary Folk Scene in Post-Revival Concepts…………………..110 Táncház and Heritage…………………………………………………………………………………..131 Concluding Remarks……………………………………………………………………………….......138 4. Institutional And Industry-BAsed InfrAstructures for Folk Music: A Closer Look At ProfessionalizAtion…………………………………………………………………………140 First Steps to Becoming a Post-Revival Musician…………………………………………..143 Industry-Based InFrastructure……………………………………………………………………….148 Institutional InFrastructure……………………………………………………………………………171 Concluding Remarks……………………………………………………………………………….......190 5. New Contexts for Folk Music: BudApest as Urban Space…………………………192 The ShiFt From Rural to Urban……………………………………………………………………….193 Urban Identities Across Budapest’s Folk Music Scene……………………………………200 New Urban Spaces For Folk Music…………………………………………………………………208 Urban Tourism and the ‘Festivalization’ of Folk Music………………………………….222 Concluding Remarks……………………………………………………………………………….......231 5 6. Conclusion……………………………………………………………………………………………..234 Notes……………………………………………………………………………………………………………247 Appendices…………………………………………………………………………………………………..253 Appendix A: Interview Questions For Students at LFZE………………………………….253 Appendix B: Revised Interview Questions……………………………………………………..254 Appendix C: Interview Biographies………………………………………………………….......256 Sources for List of Figures…………………………………………………………………………….258 Bibliography……………………………………………………………………………………………….263 Books and Journals……………………………………………………………………………………….263 Websites………………………………………………………………………………………………………278 6 List of Figures Figure 1: Map of Europe showing percentage of votes gained by nationalist parties, 2016………………….……………………………………………………………………………………………………….28 Figure 2: Map depicting territorial changes after 1920………………………………………………67 Figure 3: Dancing contestants on Fölszállott a Páva…………………………………………..........80 Figure 4: Fölszállott a Páva presenters……………………………………………………………...........80 Figure 5: Minister of Human Resources, Zoltán Balog, giving a speech at the 2014 final of Fölszállott a Páva…………………………………………………………………………………………………..82 Figure 6: Two of Kerekes Band’s members playing traditional folk instruments………………………………………………………………………………………………….............115 Figure 7: Album cover of Pimasz………………………………………………………………………………116 Figure 8: Berka Együttes……………………………………………………………………………….............117 Figure 9: Misztrál Együttes……………………………………………………………………………………….119 Figure 10: Góbé’s ‘world music image’, performing at Kobuci Kert (ruin pub)………….123 Figure 11: Góbé’s ‘traditional image’, as a more traditional folk group…………….........123 Figure 12: Budapest Nufolk Revolution performing at Kobuci Kert (ruin pub)………….128 Figure 13: Góbé performing at Müpa – mothers with their young children visible…..131 Figure 14: Csík Zenekar members…………………………………………………………………………….151 Figure 15: Márta Sebestyén on her album cover for World Star oF World Music………152 Figure 16: Screenshot of an FaP contestant and his voting number…………………………156 Figure 17: Alba Regia AMI Pulutyka Csoportja………………………………………………………….158 Figure 18: Haraszti Ikrek…………………………………………………………………………………………..158 Figure 19: Adorján Antal…………………………………………………………………………………………..159 Figure 20: Zalán Levente Horváth…………………………………………………………………………….159 Figure 21: Dr. Martin György AMI deszki Borbolya Csoportja…………………………………..160 Figure 22: Anita Vrencsán………………………………………………………………………………………..160 Figure 23: Bori Busai and Tamás Mahovics……………………………………………………………...161 Figure 24: Sándor Ürmös Jr………………………………………………………………………………………161 Figure 25: Attila Hoksz……………………………………………………………………………………………..161 Figure 26: Tibor Gál………………………………………………………………………………………………….162 Figure 27: Bartina Gyermekcsoport………………………………………………………………………….162 7 Figure 28: Screenshot of Hungarian Folk Embassy’s crowdfunding page………………….165 Figure 29: Crowded scenes at Szimpla Kert………………………………………………………………212 Figure 30: Szimpla advertising Góbé…………………………………………………………………………212 Figure 31: Góbé performing at Szimpla Kert…………………………………………………………….213 Figure 32: Budapest Nufolk Revolution…………………………………………………………………….219 Figure 33: BNR…………………………………………………………………………………………………………219 Figure 34: Ákos Csarnó playing his 3-stringed viola………………………………………………….220 Figure 35: Zsombor Fehér (recorder) and Julcsi Paár (voice)…………………………………….221 Figure 36: Flashmob taking place outside the Parliament Building…………………………..225 Figure 37: Team-building folk dance flashmob in Heroes Square, as offered by tour guide company Budapest Underguide……………………………………………………………………..226 Figure 38: Dancers outside a souvenir shop……………………………………………………………..230 Figure 39: Tourists standing to the side and taking photos………………………………………230 (Sources for the Figures presented above can be found
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