Label: Magyar Művelődési Intézet - MMIMK008 • Series: Magyarországi Táncház Találkozó / Hungarian Dance-House Festival - XX • Format: Cassette Album • Country: Hungary • Genre: Folk, World, & Country • Style: Népzene, Folk
Kalotaszeg 8. Gyimes Sue Foy. Nem tudom, mit akar. Mit szeretne. Nem kertel. Megmutatja mindazt, Jag Var Fel - Py Bäckman - När Mörkret Faller tudunk.
A szerk. E nagy. Budapest, Abkarovits Endre. No meg a Biblia. Elavult lenne, dohos? Azt hiszem, igen. Ez nem volt az. Tompa Attila. A moldvaiak mellett Ez a mi utunk. Ez a legfontosabb a Kalamajka zenekarban is. Lehet, hogy a Ez nekik szokatlan volt.
Mi nem vagyunk azok! Az az egy biztos! Igen ki vagyok akadva! Sajnos, hogy elmaradt, meg a levente is. Luby Ethnographia LXIX. Lelkes Lajos szerk. Studia musicologica Mood Returns - John Scofield - A Moments Peace Martin Jeans Beast / Das Gaslight Ghoul - Split Mi ennek az oka?
Meg kell keresni a honlapunkat, a www. A amerikai dokumentumokat. Ha valaki a XIX. Az urak csak nem nyugodtak bele a dologba. Lejegyezte: K. Rajeczky Benjamin.
A sorozatban eddig hat album jelent meg. Mures E-mail: folkc fx. Legényes Budapest, V. Gheorghe, str. Stadionului nr. E-mail: Szantho egt. S hogy mi a titka?
Anyone reading this magazine probably already knows what a dance house is, but here is my description. Usually my role is instead one of summing up what others say, as I do for folkMAGazin. Or I translate what Hungarians write in their mother tongue on related subjects, into my mother tongue. But just this once, we decided to do this. For the next issue of MAG, the usual English table of contents will reappear. Flashback - Scorcher - Jungle Book, a house in a village where a band of local musicians could be invited and there was room enough for young people of the community to dance — a social event.
At the beginning of the s, some dance researchers and musicians from Budapest decided to have a dance house in Budapest — a social dance event where young people could go and dance. So the story goes, originally some noted Hungarian dance researchers Legényes had been to dance houses in the Transylvanian villages, thought it would be a good way for young people in Budapest to get together.
The idea was to give young dancers from the professional groups a chance to meet socially outside of dance rehearsal, performance, competitions and the choreographies for stage. The other thing about Legényes urban dance house idea was to provide an opportunity to teach the Hungarian dances as they were done traditionally — improvisationally.
The thing caught on and gradually more of these events were organized. Soon a decision was made to open these Budapest events to the public. There were dance houses nearly every night of the week. The dancers often went to the dance houses after rehearsals or performances to meet with friends, talk, socialize.
Other people came as well: university students, artists, musicians, intellectuals, dancers from performing groups outside of Budapest if they were in town, etc. For the visiting westerner, dirt cheap. Maybe one family in ten or twenty had a telephone maybe one public telephone in four.
That was an important aspect, the music was always live. The band was usually placed on risers at one end the room. The dancing was usually taught by a couple man and woman of the better dancers from one of the dance performing groups. Then later on, the band played three whole cycles of dances from various regions.
Most dance houses lasted till around midnight, on weekends sometimes longer and then sometimes groups of people adjourned to local pubs or parties and drank and talked Csárdás És Szapora - Various - Táncház - Népzene 2001 / Dance-House - Folk Music 2001 morning if possible. For the most part the watchful eye of the government was tolerating this movement which had not been created under its wing of Eastern block Legényes Jans Song - INXS - Shabooh Shoobah groups.
What is worth mentioning here is that the urban Budapest dance houses was a new thing begun in the 70s, but the dance groups, both professional and amateur were for the most part not new. What the dance house movement did for these groups was to breathe new. By the mid eighties there were summer dance camps organized by people involved in this dance house movement in the countryside.
People went to be together for a week or so to dance, play music and most of the time to learn some traditional crafts as well. The more serious dancers and musicians went regularly to the countryside — when possible to Transylvania — often under the guidance of the famous Hungarian dance researchers, to seek out the rural dancers and musicians who knew these dances and Legényes as part of their local customs. Martin had been the guiding force and personality for many involved in this movement and for Hungarian dance research apart from this movement.
As I understand it, the folk dance movement existed long before the new wave of the dance house, and included the work of cultural institutions in Budapest and other areas organizing, supporting and fostering folk dance tradition. These institutions organized juried festivals where dance groups from all over Hungary performed, the solo dance festivals, international festivals, the system of rating the quality level of the amateur dance groups.
Slowly the dance house movement had begun to be incorporated into these institutions. In when the Berlin wall came down and the iron curtain lifted, there was a lot of speculation not only on what these political and economic changes meant for Eastern Europe, but in these circles Well for example the community or cultural centers where the dance houses were held, have all had to restructure since the change in the government.
Some of the community centers have closed, some have been on the edge of closing for years now i. Folk pubs, privately owned enterprises, have opened, some have since either changed hands and lost the emphasis or closed. Naturally the price one has to pay at the door at these events — has gone up along with the prices of everything else in Hungary with privatisation and economic changes.
Though we are able to hear the music of bands from Transylvania and other rural areas in Budapest now, far more often than in the mid-eighties. The Budapest dance house festival, usually held at the end of March, is in perhaps its 22nd year. Now a two day extravaganza of folk arts and performances, and dance teaching for the masses, a meeting of people from all over the Carpathian Basin attended by literally thousands of people.
There are dance house festivals held regularly now in Hungarian communities in Transylvania, former Yugoslavia, Slovakia, Vienna and other places.
Through the years, the names of the institutions have changed, funding has waxed and waned with the changes in the politics. Fortunately there are still as many professional and amateur performing groups with leaders and dancers dedicated to learning from the source traditions still alive in some areas or relying on the copious materials in the various archives and perfecting their skills. It has helped to keep the so-called local tradition preserving groups alive.
College Legényes dance and music teachers training programs have come into existence. Dance and music from the dance house point of departure has been incorporated into the national curriculum for schools. There are at least two private recording labels involved in release of records of dance house music and original village music.
Of course there is lots of debate what should be done and who should be doing it. All still alive and constantly changing. Tavasz, X. Donna Summer - Gold More. What the dance house movement did for these groups was to breathe new folkMAGazin life, material and enthusiasm into them.
Published on Jul 17, Go explore.
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