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3 Colour Version

Project managed by Kerry County Council, financed by Grundtvig, via Leargas. 1 Colour Version

4 Colour Version

DIALOGUE THROUGH TRADITION PHASE IV

Grundtvig

A presentation by Kerry County Council of the H u n g a r i a n Ho st visit in April 2007. Project supported and facilitated by:

Partners:

Ireland

ARTS IN ADULT EDUCATION

Czech Republic

Greece

Hungary

EALAÍON SAN AOS OIDEACHAS

DIALOGUE THROUGH TRADITION PHASE IV A presentation by Kerry County Council of the H u n g a r i a n Host visit in April 2007. Páirtnéirí:

Éire

Poblacht na Seice

Kerry County Council is the lead partner in an ‘arts in adult education’ project sponsored by Socrates II programme ‘Grundtvig 2’ learning partnership, through Léargas. The project theme and delivery came about following discussion and debate at the Léargas seminar in Kinsale in 2004 where a number of countries interested in the concept of a creative and cultural traditional arts learning process came together.

This project was born from a desire to learn about European traditional arts. Each country has a wealth of creative tradition that is communicated via music, song, dance and folk arts such as craft and costumes. To understand these arts forms, to learn where they came from and what they say about us as people is a way to understand cultural differences and

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An Ungáir

similarities. It is a way to learn about each other – both people and place. The aims and objectives of the project are clear: Arts education affords a learning opportunity that transcends language. Barriers are broken down through music, dance, etc. Adults of varying abilities and experience will enjoy and learn from this experience. It is a two-part learning process. Initially facilitators (dancers, musicians, and folk artists) will learn about other countries creative traditions. Following this, these facilitators will offer this learning to the wider community in their home country. The adult learners will be provided with learning of partner countries traditional creativity in the areas of music, song, dance and folk art of other countries. The adult learner participants will vary from country to country.

• Experiencing different cultures. • Learning the traditional music, dance and folk-art of partner countries. • Passing on this learning to an identified adult group/ groups in the home countries: e.g. isolated geographical areas, socially isolated population, senior citizens etc. • Possibility of an end presentation of learning experience to share learning about other cultures through music, dance, song and folk art. • Produce a DVD, documentation, and a website to share the learning experience. • Evaluate effectiveness of the project. The project commenced in September 2005 with all partner countries agreeing on a general work schedule and developing links with traditional art and community groups in their home countries. In Ireland the emphasis was two fold. Two specific areas of traditional arts education were focused on; on the one hand Siamsa Tíre, The National Folk Theatre of Ireland would be involved in the learning process by visiting the partner countries and thus be inspired by other traditional dance, music and singing styles. Secondly, Siamsa Tíre would work with identified adult learner groups in rural areas interested in learning about traditional arts of partner countries. The project allows for development opportunities in arts education for adults as both groups come together and forge unprecedented links.

At present in Ireland Kerry County Council, Siamsa Tíre, the National Folk Theatre of Ireland and the O’Connell Centre, Caherciveen, South Kerry a rural adult learning group are working to learn the traditional arts of all partners’ countries. This project is exciting as it affords a learning opportunity that transcends language. The adult learners will have an opportunity to develop their creative abilities and cultural awareness through this ‘Dialogue through Tradition’.

The first international visit was hosted by the Czech Republic in Valasské Klobouky, the second part of the seminar was hosted in Tralee, County Kerry in Ireland, and the third part of the seminar was held in Spata, Greece. It is noteworthy that at each of the seminars, the hospitality has greatly enhanced the programme of work. The actual link between the people of a place and their traditional arts is one which communicates culture very well. The shared interest in the traditional arts leads to a working programme that is both fruitful and enjoyable. >

The essence of the project is to provide adults the opportunity to learn about the traditional art forms of partner countries. This learning will take place during the host visits and during a number of workshops in between visits.

An Ghréig

The project will have a learning process that includes:

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DIALOGUE THROUGH TRADITION HUNGARIAN PROGRAMME: 12TH - 15TH APRIL 2007

Hungarian Host Seminar: songs, dances, music, workshops, cultural events and performances.

Seminar language: English

THURSDAY, 12TH APRIL: Arrival in Hódmezovásárhely in the afternoon. 19.00: • Reception with all participants. • Introduction of the project and briefing of the program for the three days. • Introduction of Kankalin Folkdance-group and the foundation for the Folkdance of Vásárhely. 19.45: • Dinner and dance house (with two choreographers performed by the group) • Performance with traditional instruments and costumes.

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FRIDAY, 13TH APRIL: 8.30: • Introduction to Hódmezovásárhely (reception and meeting at the town hall with the Deputy Mayor, István Almási) 9.30: • Departure to Szeged: tour of historical and architectural sights of Szeged (Dom square, river Tisza etc) • Guide Péter Pálfi and interpreter. 12.00: • Lunch in Hódmezovásárhely 14.00 - 16.00: • Professional afternoon: a lecture by Professor Zsákay Gyozo on Hungarian folk music (Introduction of the regions Somogy, Dél-Alfold, Szamatár, Mezoség and Szék) 16.30: • Dance house with dance teaching (with accompaniment of the orchestra Rozsdamaró from Szegred) I - Verbunk (recruiting dance) from Rába and slow czardas II - The dances of Sóvidék

19.00: • Evening assembly in the hall of Sándor Petofi Community Arts Centre • Dinner • Informal dance house after dinner, opportunity to practice learning

19.00: • Dinner, performances and certificates 20.00 • Dance House for the groups

SUNDAY, 15TH APRIL: SATURDAY, 14TH APRIL: 8.30: • Song teaching for all participants -Ballads -Songs of Kis Magyarország 10.00: • Dance Teaching - Dances of Dél-Alfold - Dances of Szek (négyes (quartet), lassú (slow), czardas, suru, ritka) 12.30: • Lunch 14.00: • Folk Art - Introduction to costumes - Exhibition of wood carving by Soma Varga - Song teaching (continuation of morning lecture) - Dance teaching (Dél-Alfold, Szék)

After breakfast departure by bus to Budapest to catch flights for all participants.

LOCAL INFORMATION: Hód and Vásárhely appear as separate villages in documents from the 13th century. By the middle of the 15th century a market town was formed through the fusion of both villages. The area still has a strong tradition of all year round, open air livestock grazing. At the turn of the century, the number of potters working in Hódmezovásárhely was the highest in Hungary. The town is viewed as a centre for pottery on the great plain, with locally mined high quality clay providing raw material. Hódmezovásárhely is also well known for its embroidery, the base material of died wool yarn embroidery were hemp and flax. The yarn was made from wool died with vegetable dyes yielding a unique palette of colours. Decorative motifs included stylised plants, tulips, peonies, peacock eyes, chalices and birds. The local architecture is best seen in the Town Hall, the old

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secondary school which was built in a classicist style in 1820 and also in the Downtown Roman Catholic Church built in 1852. Every year in June there is an open air celebration of music, this festival platforms both established and emerging musicians and singers.

The highlight of the evening was a performance by the local folk group, including musicians and dancers. It was lovely to see those we had met in Greece perform with their colleagues. The music was very interesting with a range of instruments used. Many instruments were new to the learning programme and of great interest to all involved in music.

HOST VISIT REPORT: BACKGROUND: Slightly over 50% of Hungary's land is arable. With highly diversified crop and livestock production, the country is selfsufficient in food and in the mid-1990s was making about 15% of its export earnings from agriculture. Corn, wheat, barley, sugar beets, potatoes, sunflower seeds, and grapes are the major crops. Pigs, cattle, and sheep are raised. Hódmezovásárhely gets its name from the land, the beavers, the fields and the market place.

The dancing was as energetic as we remembered from the display in Greece! No rest for the wicked…. After the meal we were all brought up to the dance floor to learn our first group dance. The steps were interesting, the men had a wider range to learn than the women – traditionally – however everyone availed of the opportunity to learn as much as possible in preparation for the next day. The singing is quiet different to both the Irish and the Greek, and indeed to the Czech, on the opening night there were no harmonies, or soft melodies – rather the singing was strong and forceful….an interesting insight to Hungarian folk art.

OFFICIAL START: THURSDAY: Delegates travelled from Budapest by bus to Hódmezovásárhely. Thursday night was very interesting for delegates; we were welcomed to a local school where we were treated to a range of local dishes. There was a formal welcome by the folk group manager.

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FRIDAY: Friday morning we were greeted in the Town Hall by the deputy Mayor, we were given pens from the town and a tour of the hall which boasted a fine display of ceramics and paintings. This was followed by a bus tour into Szegred, the second largest city in Hungary which was very clean with a strong sense of architecture.

On return to Hódmezovásárhely, the workshops commenced with an informative talk to give context to the folk culture of the area. Pottery and embroidery, woodcarving and bead work are all popular crafts today in Hódmezovásárhely. Professor Zsakay Gyozo gave a lecture on Hungarian music. The music of Hungary consists mainly of traditional Hungarian folk music and music by prominent composers such as Franz Liszt, Béla Bartók and Zoltán Kodály. Hungarian traditional music tends to have a strong dactylic rhythm, just as the language is invariably stressed on the first syllable of each word. Hungary has made many contributions to the fields of folk, popular and classical music. Hungarian folk music is a prominent part of the national identity and continues to play a major part in Hungarian music. Hungarian folk music has been influential in neighboring areas such as Romania, Slovakia, southern Poland and also in southern Slovakia and the Romanian region of Transylvania, both home to significant numbers of Hungarians. Hungarian classical music has long been an "experiment, made from Hungarian antecedents and on Hungarian soil, to create a conscious musical culture [using the] musical world of the folk song" Although the Hungarian upper class has had cultural and political connections with the rest of Europe, leading to an influx of European musical ideas, the rural peasants maintained their own traditions such that by the end of the 19th century Hungarian composers could draw on rural peasant music to (re)create a Hungarian classical style. For example, Béla Bartók

and Zoltán Kodály, two of Hungary's most famous composers, are known for using folk themes in their music. Bartók collected folk songs from across Eastern Europe, including Romania and Slovakia, whilst Kodály was more interested in creating a distinctively Hungarian musical style. During the era of Communist rule in Hungary (1944-1989) a Song Committee scoured and censored popular music for traces of subversion and ideological impurity. Since then, however, the Hungarian music industry has begun to recover, producing successful performers in the fields of jazz such as trumpeter Rudolf Tomsits, pianist-composer Károly Binder and, in a modernized form of Hungarian folk, Ferenc Sebo´´ and Márta Sebestyén. The three giants of Hungarian rock, Illés, Metró and Omega, remain very popular, especially Omega, which has followings in Germany and beyond as well as in Hungary. One of the first people to undertake the serious study of folk song, Kodály became one of the most significant early figures in the field of ethnomusicology. From 1905 he visited remote villages to collect songs recording them on phonograph cylinders. In 1906 he wrote the thesis on Hungarian folk song ("Strophic Construction in Hungarian Folksong"). Around this time Kodaly met fellow composer Béla Bartók, whom he took under his wing and became his mentor and subsequently a major influence on Bartok's music. The two became lifelong friends and champions of each other's music. The traditional music comes in two strains, learned music and folk music, which

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includes both traditional folk songs and the later urban music. Great researchers in folk music not only taught Bach and Mozart but taught the knowledge of Hungarian Folk music. They realised that it was the right time to document everything. Their goal was to review the traditional form of folk songs, to document how politics and history influenced songs and music and the variety of differences in music within the regions of Hungary. Over 3000 folk songs were collected. Old songs didn’t use full scale only new songs used the 7 notes of the scale. Kodaly only wrote about the bagpipe – well known in Eastern Europe, and each region has its own special pipe – its construction is different, it has its own beauty. In the mid 1960’s there was new interest to rediscover folk music. Hungary was influenced by this folk revival. In Hodmeservasharly a group of young people set up a dance house. The basis was entertainment; they didn’t want to listen to the Rolling Stones but dance to traditional music. The first dance house was in the Transylvanian village of Sigc. This session was followed by a singing lesson and an introduction to Hungarian dance steps such as Botos Tanc Bota Dance, Torontali Tancok Torontal Dances. As ever the classes were intensive, and were absorbed and enjoyed by the culture vultures that are the adult participants in Dialogue Through Tradition.

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Classes were followed by a concert Friday night which was a treat; there were performances by all age groups. The town has a wealth of talent from the older to the very young. The performance on stage was typical of Hungarian folk art, which is very much a living tradition in the area. The traditional folk arts of Hungary included performances by both choirs and dancers. The way in which our traditional arts have similar features and yet are very different is truly reflective of the different cultures, lifestyles and values in each country over the years.

SATURDAY Saturday was intensive in that the partner countries all wanted to ensure they had a firm grasp of Hungarian music, song and dance. The singing took time to master. The notes were different to our own traditional ones and thus the learning took longer than anticipated. It is noteworthy that regarding Hungary folk tradition, three factors – music, song and dance – are indivisibly unified. ‘To try to divide one from the other would seem meaningless’; this is quite different to both Irish and Greek traditions, similar in ways to the Czech Republic. On Saturday night there was an outdoor performance. This was enjoyable as many locals, outside of the formal project partners participated. The group dance outside saw directions change as well as partners, again it was very sociable – reminiscing of the Greek dance where you do not need a partner to participate.

Definitely there is more emphasis on the male dancing – the male has the majority of dance steps many of which are complex and fast, whereas the women do not dance the same range. This makes it very different to Irish dance where the men and women dance equally challenging steps in the figure dancing. The music, singing and dancing was very natural and invited widespread participation; indeed later on as we received our certificates upstairs we could still hear the singing and dancing taking place outside by the teenagers. It was up lifting to see such interest and participation in the folk arts of the area. Dialogue after all is only relevant when it is taking place or referenced to!! As always, the seminar participants worked very diligently. This was facilitated by the delivery of workshops in a most effective manner. The practical workshops, the lectures and visual displays combined to provide a learning process from which all participants benefited. The classes went well and our hosts were very willing to guide and help. As always, the evaluation of the seminar was interesting. Participants filled in a questionnaire, following discussion and the overall evaluation gave rise to the following. Once again the result was 100% satisfaction with the seminar delivery and the learning opportunities afforded.

FEEDBACK FROM GROUP SUGGESTED IMPROVEMENTS: • All the participants involved in the project agreed that the Hungarian visit delivered arts in adult learning: - At the end of the visit we all came away with a better knowledge of Hungarian Folk Traditions, as well as having learned dances and songs from Hungary - A lot was learnt about the arts in the region and we had the chance to practice singing and dancing - We got a great insight into the crafts of Hungary, the songs, culture and male dancing – no female dance was taught, I was disappointed with this - It encourages me in continuing with my work in folklore and tradition. • The most interesting things learnt about Hungarian traditional arts on this visit were as follows: - Dance – Hungarian dance in particular solo dance is very similar to Irish dance, rhythms and footwork are very alike - Music – The music is also similar to Irish. It has the same make up as the Irish music, which for us Irish participants made it easier to learn - Song – The style of the Hungarian singers is very unique. They have a different style from other European countries - Continuity, liveliness, enthusiasm, social background and pride - How traditional arts are connected to the social and

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political movements of a culture. They are a communal expression of how a community is feeling. They are connected to the identity of a community Even though they are traditional and unique to a culture there is always evidence of outside influences Folk dance is a very important cultural method of expression. It is important in that it brings people together. It often gets overlooked in comparison to music and song Traditional arts reflects a countries ‘soul’. Traditional dance and music are created in such a way that almost everyone can take part. You don’t have to be a professional artist to enjoy and participate Dance, song, crafts, culture and traditional music The traditions in Hungary in Szeged country are very strong and people – especially young people are very fond of their culture I noticed that some of the songs and steps are quite similar to the Czech culture The Hungarian people have a very effective way of practising and teaching new steps and dances which can be used when teaching my own Group in the Czech Republic.

• 100% of the participants involved felt that the workshop format and delivery was effective: - The Hungarians followed the template that was set up in other countries, which we know that works

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- Although the time was not much the enthusiasm and effort of the instructors was really effective - A lot was learned in a short time - It was very effective in the singing that people were walking around near us to help us with pronunciation and the meaning of words - I know the workshop format and delivery was effective because when I tried to teach the dances to our members in our country I did it very well. I feel, I learnt very much.

• Improvements that could be made for future traditional arts workshops: - More time for practical workshops. Two days seems very short to learn everything. If the time was longer, I feel you would get a better feel for the local tradition and culture - To have more time, in order not to exhaust the elder participants and also be able to visit more sights of the territory - It was all excellent! - The days were very long and the schedule was busy, some extra time to freshen up for evening events was needed. Everything was very rushed. - More repeating and rehearsals of the songs. • The group felt the scheduled visit communicated Hungarian Culture in an effective manner for the following reasons:

- We got a great insight into dance, music, song, crafts and we also saw a show with people of all ages taking part. It was great to watch all the community coming together. The kids were so enthusiastic to learn Irish dance - We got to meet local Hungarian people who practise dance, song and music in their school. We also got to see them perform for their own local community - We’ve known different aspects of the arts (music, dance, crafts) and learnt about the history and social background of the area - The bottom line of the visit was to learn about Hungarian Culture – this was achieved - The programme was built up in an effective way. All members of Kaukaliu (traditional folk group) were handy and available to help with any problems.

• What else could have been included in the schedule? - More sightseeing - More female dances - Time, more time for workshops - I would prefer more singing or we could sing the Hungarian songs together in the evening party. • On a scale of 1 – 10 (1 being no, 10 being yes) the group indicated how they found language to be a barrier in the learning process. - 60% 2 and 3 - 20% 5 - 20% 8

• The impression of the traditional arts of Hungary following the visit: - They are very much alive and vibrant. However, I feel that traditional culture and arts must have a modern message if they are to survive - I love it! Everyone made us feel so welcome. My favourite of course was the dance - A rich and vivid tradition still inspiring the new generation. It was moving seeing for example grandmothers singing with their grandchildren - They have a very unique culture, but saying that their music and dance is very similar to that in Ireland - My personal impression was very positive and I could say also that all participants were very content with this seminary. We enjoyed each part of the programme and we enjoy this time, where we teach our members Hungarian dances in our country. • When asked if they would be interested in participating in the next overseas visit 80% said YES. Reasons given: - It is an unparralled opportunity to meet people from other member states of the E.U. to get to know and understand them and their culture - I enjoy experiencing different folk cultures and also sharing my own with different countries - It would be wonderful to continue “dialogue of traditions” that has been so successful, we have shared culture and met friends.

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- Coming from the professional side we in Siamsa find these workshops very interesting as they give us an insight into other folk cultures - One participant said that they would be unable to make any overseas visits again as “we have little pause in our group”.

• Additional Comments: - This project has given unique opportunities to people to expand their knowledge on various traditions and also live unforgettable experiences - Thanks to all organisers! - I had a brilliant time it was great to meet up with all the old faces and also make new friends - I had a wonderful time. I got to see a culture and meet people which always seemed very far away, behind the Iron Curtin. Through our appreciation of traditional culture we have a lot more in common than expected. ‘Narrative should be kept to a minimum’ ‘Songs a bit difficult’ ‘Better punctuality’ ‘More time!’ requested by 70% of participants ‘More dance’ this was requested by 50% of the participants! ‘More instrumental tuition’ ‘More sightseeing’ ‘More information about costumes, menus etc’

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‘Perhaps workshops outside….’ ‘Maybe have lunch in the same place as the workshops to save time’ ‘Maybe more walking, less travel by bus if time allows’ It is evident that the arts learning is successfully taking place; in particular as most participants want to do more of everything so time is certainly well spent!! It is also evident that participants agree a longer seminar would be more effective. It is interesting to note that all countries agree that the actual place needs some exploring as the place is what inspires the people’s traditional arts. The connection between the earth, the sea, the way of life, the lifestyle – celebrations, hardships, changes – are all portrayed through the traditional arts.

and dedication to the project, in particular to Kerry County Council for being the lead partner. The project would not have been successful without the facilitators and participants in each country. Thank you to Siamsa Tíre, The National Folk Theatre of Ireland, thanks to the O’Connell Centre, Caherciveen and ‘Women with a mission’! Thanks to Greece, Czech Republic and Hungary for their time and commitment. I know we have all learnt much, an appreciation for each others traditional arts, a practical leaning of folk music, song and dance that transcends language barriers as well as a clearer perspective of where the traditional arts are placed in each culture, their value to communities, to communicating who we are and to extending a hand of friendship to others.

The practical element of the partnership has completed. We had hoped to do a final sharing of learning and a partner evaluation meeting; however only two out of the four partners received funding so this was not possible. It is intended to continue in Ireland with the Hungarian folk art classes up to December and to have a last evaluation meeting in January 2008 so that we can further share our learning experience with those interested in undertaking similar projects. I would like to extend a Buíochas mór do Léargas as am tachaíocht din, thanks to all partners for their professionalism

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EALAÍON SAN AOS OIDEACHAS Ignore colours in file Match sample Pantone 307 Pantone 123 Pantone 361 Black

DELEGATES FROM IRELAND: Kate Kennelly, Project Manager Michelle Griffin

Togra faoi bhainistíocht Chomhairle Contae Chiarraí, maoinithe ag Grundtvig, via Léargas 3 Colour Version

1 Colour Version

4 Colour Version

Jonathan Kelliher, Artistic Director, Siamsa Tíre Gerry Kennedy, Group Leader, O’Connell Centre Caherciveen Caroline Kennedy Lucy Henehan Críona Gavin

Grundtvig

For website details please refer to: www.kerrycoco.ie/arts/dialogue.asp www.siamsatire.com

Le tacaíocht agus áisithe ag:

www.sweb.cz/dubrava.folklor section Dialogue www.pammesogoiaki_choir.gr

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