Karikázó, 1977. július - 1978. április (3. évfolyam, 1-4. szám)

1977-07-01 / 1. szám

CONCLUSION OF discipline vs. __ A debate of interesting ideas, between Kálmán Dreisziger and Kál­mán Magyar appeared previously in Karikázó. This debate deals with and emphasises the new efforts of the Hungarian folk dance movement in America. In the following I would like to shed some light on these two,seemingly diverging, yet in some ways similar viewpoints. The argument,launched from dis­ciplined, highly choreographed folk dance presentations vs.spontaneous, improvisatory folk dancing has oc­­cured in Hungary too. In a way, it is still going on, since many have not come to terms yet with the the­oretical and historical basis of it. Folk dance is an inseparable and integral part of ethnic culture where it serves as a basic tool of human expression. It is even more important than speech, since verbal communication itself is composed and expressed through human movement. A communicated thought is also com­prehended through movement. This is the reason why mental work is as exhausting, if not more so, than physical activity. So much for move­ment as a fundamental part of human expression. The individuality of aiblk dancer lies in his own form of self-ecpres­­sion. In certain ways however,it is more than that. As a rhythmical movement, dancing can be the vehicle for the fulfillment of some social needs and functions. For example: - Relaxation is a basic humán need and can give one the feeling of se­curity. Dancing provides this. - In situations where the very ex­istence of a society is threatened, the raising of consciousness and courage is done through rhythmical dancing, as in war dances. - The most elaborate dance events in a village coincide with special astrological positionings of the moon and sun in relation to earth and aid in overcoming the biologi­cal and spiritual instability caused by those constellations.(Such events are the week of "regőlés" or min­­streling in the winter, the fires of Saint Iván Day and the holidays revolving around chosing a mate or pair, during the sumirer. ) All these have a balancing,equalizing effect on cne's biological and spiritual dis­position. - Rhythmic dances and games have a positive ascendancy on children and their anguishes,that result from the biological effects of growth. - The acquirement and practice of traditions is the precondition of one's sense of affiliation and in­dividuality. Not belonging to any­one or any one group leads to psycho­­logical anguish, causing the inhi­bition of other human activity.(The "immigrant syndrome") In tradition, dancing is present during the greatest moments of hu­man life: at birth, at matrimony aod at funerals. All these events cre­ate related anxious feelings - by "dancing them off" they are trans­formed into a more harmonious dis­position. This is why a peasant,fol­lowing even the most strenuous day of work in the fields and especial­ly their completion (harvest, hoe­ing, vintage) would celebrate by dancing. In todays sense this is un­thought of, whereas it is a per­fectly consequential activity from a biological point of view. These are the basic fundamentals. These are the answers to the ques­tion: "Why do we dance?" If one looks at the above points it can b'e seen that not one of them treats dancing as entertainment,although that would probably be the first an­swer that would come to mind in to­day's world. Entertainment is only a surface impression under which more essential questions are dealt with. Each party evaluated the particu­larities of folk dancing in an in­dividualistic manner. Of course, they were both talking in terms of Hungarian folk dancing, although this sphere of thought holds true universally too. The characteristics of folk life are evolutionary, even though their base contains unchangeable elements. Rhythm, which must be in accord with the rhythm of the language and mu­sic plays a decisive role in de­fining the characteristics of a dance. Besides these, attire and related posture,personal conduct also have an effect and are seemingly permanent constituents. However,due to the slow evolution of self-con­­duct resulting from changes in at­tire, they also belong in the changing category. Distinctive behaviour is a very essential element of folk dances.lt is to no effect to learn a line of dance figures if its presentation is not paralled with an appertain­ing self-conduct. Certain costumes naturally confine and set limit to dance movements - a factor too often disregarded. For example, wearing boots lends a completely dif­ferent feeling to dancing than wearing shoes. This is especially true if the boots are heavy and have a stiff upper part. Proper conduct between different genarations as well as the two sex­es is also a determining factor. E- ven holding hands can have a certain kind of ritualistic importance. In Kolon (Nyitra County) a girl would prearrange even her smile in front of the mirror before leaving for church and in order not to disturb this stance she would not greet any­one on her way. Of course, some of these manifestations are extremes even in terms of folk tradition,but they do exist and are influencing elements. If the tempo or the rhythm of the music is unsatisfactory,nobody, not even the best dancer will both­er to get up, let alone dance. This is why gypsy musicians, familiar with the dancers' particular habits and favorite steps will play tunes that will most likely appease them. These are some of the rudiments of a successful event in a village, to which the whole community con­tributes, each in his own way.Among those people where these magnifi­cent events are still alive un­tainted, the same marvelous experi­ence can be had. In his article, Kálmán Magyar re­ferred to the special success, the pursuits of the new dance movement and to the spreading of improvisa-r tory style dances during the last decade in Hungary. The distinctive mark of Hungarian male dancing is its improvisatory mode of presen­tation, motifs varied according to the mood of the dancer.Couple danc­es are conducted in a similar fash­ion. I must point out here that no ensemble has achieved this impromp­tu way of dancing on stage nor is there any attempt to do so. This type of dancing nowadays is the re­naissance of an archaic form done solely for entertainment. I deliberately used the concept of entertainment here because there is only a slight conncetion bet­ween this and the above mentioned archaic, traditional dancing. The folk dance "happenings" of today were brought about by the fol­lowing necessities: - There is a basic need in people to socialize and to ease tension. Dancing gives the opportunity to do Just that. - Folk dancing can lead to the re­cognition of one's nationalistic af­filiation, thus strengthening his sense of security. In a way,it gives meaning to the historical evolution of human life and to the life- con­tinuity of a race. It is difficult to give an exact definition of this but dancing certainly aids in the development of these feelings. - Disco and other non-folk type dancing diffuses a feeling of col­lectiveness which has psychological roots and needs. (Belonging to a gang for example, carries with it the psyshosis of self-confidence.) Therefore, today's generation' s need for folk dancing is entirely different from that of those people1 whose dance traditions were an in­tegral part of communal living. SPoNIaNEHV _______________by KAROLY FALVAI Translation:Kriszta Venczel/ Judith Magyar Members of the Children's Dance Group of the Passaic Hungarian Re­formed Church enjoying singing and dancing,___________iPno -,o: Ruben Jam )

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