tion of the sources on "dancing reality.

" It comprises the examinat

linguistics and later in all social sciences. It appeared as a set of the

on. Structuralism as one of these approaches came up in the middle
more points of view by comparison of the entities in order to test t

formal, morphological analysis of the predominantly improvised, i

Council (lFMC) Terminology Study Group. (See Appendix A.) A

Analysis is an integral part of the whole procedure of dance res

different approaches in the analytic process, for example, historical

degree of their difference or similarity. These operations illumin

brought about a radical change in research methods, which resulted

framework of folk dance research being based on comparative hist
analytical methods and techniques. Depending on the aims of the co
tion, documentation, transcription, interpretation, classification, syst

and folklore research, both in Hungary and internationally. Therefo

depends on the reliability of the documents, the analyst's preconcepti

of movement and sound recording equipment, together with the ap

approach, which was unable to grasp the core element of the pheno

musicology and narrative folklore, which carried out the formal

Achievement of Hungarian researchers in this field have" had c

function). It shed less light on meaning and content of the socio-
processes of folk dance traditions: recurrence, contrast and variati

and rearrangement of research paradigms. We must not forget abo

accents and a new set of priorities. It demanded from researchers a
of contemporary Hungarian folkloristics. Two fields had an impact
ment itself. The structural approach was embedded in the existin
Europe. It was introduced as a reaction against the prevailin
endeavours of various generations of researchers. It was meant t

(1965).1 and by the advantageous international co-operation of t

"systems of relations." It focused attention particularly on form an
logical procedures for looking at human (social) phenomena as

In Hungarian folk dance research, structuralism appeared in the

environment in which to apply useful ideas from linguistics, move

STRUCTURAL APPROACH IN HUNGARIAN FOLK

the previous formalist, morphologist ideas with new ones. This

Development of the structural approach in Hungary was assisted
LaszlO FelfOldi

systems as prerequisites for the analytical approach.2

\
I
I

Strauss 1963, KurzweiI1980).

154 LISBET TofU'
I
.11
;[

Introduction
STRUCTURAL APPROACH IN HUNGARIAN FOLK DANCE RESEARCH

LaszlO FelfOldi

'. PIHENOS, Sarkoz, Hungary

I
Introduction
Analysis is an integral part of the whole procedure of dance research, together with collec-
tion, documentation, transcription, interpretation, classification, systematization, and dissemina-
4
tion of the sources on "dancing reality." It comprises the examination of sources from one or
more points of view by comparison of the entities in order to test their identity and define the
~ degree of their difference or similarity. These operations illuminate the main form-building
processes of folk dance traditions: recurrence, contrast and variation. Objectivity of the result
0
depends on the reliability of the documents, the analyst's preconceptions and the efficiency of the
analytical methods and techniques. Depending on the aims of the concrete research, analysts use
different approaches in the analytic process, for example, historical, formal, functional, and so
< on. Structuralism as one of these approaches came up in the middle of the 20th century, first in
linguistics and later in all social sciences. It appeared as a set of theoretical ideas and methodo-

~ logical procedures for looking at human (social) phenomena as "wholes," "structures" and

I
-" \
I
"systems of relations." It focused attention particularly on form and function (mainly structural

'0"'"
:~
function). It shed less light on meaning and content of the socio-cultural practices (see Levi-
PIHENOS, Sarkoz, Hungary

I
Strauss 1963, KurzweiI1980).

.....
In Hungarian folk dance research, structuralism appeared in the late 1950s as a result of the

\
\
xx

4
endeavours of various generations of researchers. It was meant to become a special tool for
formal, morphological analysis of the predominantly improvised, individual dances of eastern
LISBET TofU'

Example 99
-< 0 Europe. It was introduced as a reaction against the prevailing ethnographic-functionalist

):
~

>:
approach, which was unable to grasp the core element of the phenomenon, that is, dance move-

<
~

..
>:

.
x,-::
:~

",.:.
xx
0
ment itself. The structural approach was embedded in the existing theoretical-methodological

0
-<
framework of folk dance research being based on comparative historical-geographical methods
",.:. of contemporary Hungarian folkloristics. Two fields had an impact on ethnochoreology: ethno-
. musicology and narrative folklore, which carried out the formal analyses of folklore texts .

4
x,-:: Development of the structural approach in Hungary was assisted by establishing an academic
environment in which to apply useful ideas from linguistics, movement theory, and folkloristics

4
4
4
4
4 ): (1965).1 and by the advantageous international co-operation of the International Folk Music
Council (lFMC) Terminology Study Group. (See Appendix A.) Adoption of structural theory
brought about a radical change in research methods, which resulted in a fruitful combination of
0
/
..... -" \ the previous formalist, morphologist ideas with new ones. This was followed by a shift of
.. \
\ I I
I accents and a new set of priorities. It demanded from researchers a more complex analytic view
and rearrangement of research paradigms. We must not forget about the technical development
'0"'" of movement and sound recording equipment, together with the application of modern notating
systems as prerequisites for the analytical approach.2
Example 99 Achievement of Hungarian researchers in this field have" had considerable impact on dance
and folklore research, both in Hungary and internationally. Therefore this presentation about the
154

I.

I.
'.
I
I

;[
I

.11
I
 the contemporary level of film technique, with which it was p

made a large step toward dance morphology. He, as a profession

Symbolically speaking, dance has also words, expressions, sentenc

kinetographer, she made an invaluable contribution to the de

methods. Her scope of attention expanded to all genres of Hungari
The Hungarian dancer never thinks beforehand of the figure, whi

tional base for dancers and movement theoreticians (Emma Lu

The weak points of his system originated from the variability of
minutes long parts of the improvised dances and did not enable the

moment. [t depends entirely on his disposition and momentary phys

numbers of the motifs. His source material was filmed and trans

SzentpaJ, and so on), who were hindered by the new political re

like language or music has. The subordinated elements are arrang
that the figures are occurring more times in a previously non-prescr

about 1000 motifs as a basic motif repertory of Hungarian",dances

word from sounds, the sentence from words. The ornaments are

motif occurs with different movement types Uumping, stepping, an

elements in the same way as the poetic message is decorated by t
fioritura. Naturally the smaller elements of the dance cannot be asc

between 1941 and 1947 in nearly fifty villages of Hungary and T

representation of the whole Hungarian dance culture, and the ver

having a practical approach to dance, cut the various folk dances i
For them in 1937, motif was the only constant, graspable elemen

Lugossy Emma (1917-1994), introduced Labanotation into fo

occur in new form, in new harmony of the body posture, gestures an

problems in classification for him. In addition, he did not have en

Istvan Molnar (1908-1980) in his collection Hungarian danc

improvisatory dances can be accepted as Hungarian dances [Molmir 19

and so on). At the same time he gave a full description of the da
and the manifestation of its spontaneous life being realised by i
Structural approach in Hungarianfolk dance rese

(1945-1948). Later the Dance Artists' Association and Institute o

and published the first collection of folk dances with kinetograph

measure of individualism is both a characteristic feature of the Hu

After World War U, folk-dance research was affiliated with

so widespread in Hungary that we have to consider these dances as

necessary for real scientific research on dance. From this volu

dance. They had a great role in the transmission of new ideas a
mistic about the existence of a kind of grammar in dance traditio

into a motif-catalogue according to their characteristic type of mo

her activity (1948-1956), she published comprehensive kinetogra

them. (See Gonyey-Lugossy 1947; Lugossy 1952,1954,1956.)
processes and realise the compositional rules in its totality.

his analytic work he drew the conclusion:

In another place in the same writing:

nation [Lajtha-Gonyey 1937: 77].

[Lajtha-Gonyey 1937: 129].
156 LASZLO FELFOLDJ Structural approach in Hungarianfolk dance research 157

were not easy to understand .

---------------------------------~----.--~-----.- ---------

2. Mature structuralism
..

formation of the main ideas of structural approach in Hungary will give historical context to occur in new form, in new harmony of the body posture, gestures and rhythm. The speciality is
present-day research. that the figures are occurring more times in a previously non-prescribed order. This feature is

folk dance research. s

so widespread in Hungary that we have to consider these dances as most Hungarian ones. This
measure of individualism is both a characteristic feature of the Hungarian manner of dancing,
History and the manifestation of its spontaneous life being realised by improvisation and variation
1. Early ideas about the repetitive elements and traditional compositional rules of dances [Lajtha-Gonyey 1937: 129].
According to the early (18th-19th centuries) descriptions of Hungarian traditional dances,
eyewitnesses were already aware of the repetitive elements (figures) and some kinds of "compo- In another place in the same writing:
·1 sitional rules" of these dances [Rethei 1924], but they were convinced in the "indecipherability" Symbolically speaking, dance has also words, expressions, sentences and stylistic techniques
of these rules. Daniel Berzsenyi (1776-1836) classical poet, lover of Hungarian dances and like language or music has. The subordinated elements are arranged into higher units as the
writer of the first Hungarian dance aesthetics, writes in 1811: word from sounds, the sentence from words. The ornaments are decorating the movement
elements in the same way as the poetic message is decorated by the epithets and melody by
It is not like a craft with rules, fioritura. Naturally the smaller elements of the dance cannot be ascribed to only one people or
Dancer himself defines the laws, nation [Lajtha-Gonyey 1937: 77].
And his enthusiasm sets the limits.
For them in 1937, motif was the only constant, graspable element of dance. They were pessi-
Titkos torVlinyit mesterseg nem szedi rendbe
Csak maga szab torvenyt.
mistic about the existence of a kind of grammar in dance tradition. These can be explained by
the contemporary level of film technique, with which it was possible to record only 1-1.5

but they are not accurate transcription of the recorded movements. They were not yet aware of
s lelkesedese hatart [Berzsenyi 1982: 134-135]

and the folk-music research of Lajtha probably helped to create a solid theoretical basis for their
tions of rhythmic-metric features of movements. The verbal descriptions are based on the films,
history, as Rethei was, but associated it with an ethnological view offered by Curt Sachs.

analytic work in movement. 3 As they write in the "Dance" chapter of volume four in Ethnogra-
1950s they made about 1000 meters of film from about fifty villages for the Ethnographic

the existing movement theories and notation systems. The intensive filming activity of Gonyey
formalist trends in western folklore and art theory. During their activities from 1912 till the
Besides we suspect, that Lajtha as an officer of the International Organization of Folk Art (later
of ethnochoreology research, identifies main phases, significant figures, auxiliary figures and

1963) and Laszl6 Lajtha (1892-1963). They were also imbued with ideas of national culture

various publications, a series of drawings and verbal descriptions of motifs with precise indica-
Museum, which served for them an institutional base. They published about thirty dances in
more precise ideas about the language-like character of folk dance were Sandor Gonyey (1886-

IFMC) with strong international (mainly French) connections, had some knowledge about the
notating systems at the beginning of the 20th century, which made it possible for researchers to

The first researchers who had enough field experiences and filming practice to formulate
Marian RHhei Prikkel (1871-1925) a Benedictine monk, well-known linguist and initiator

ornaments in Hungarianfolk dances, which may remind us for the definition of sentences, words

Rethei based his concept on a corpus of historical sources and some field experiences, but it was
not enough for the elaboration of a clear conception of dance form. It was only the filming and
According to the early (18th-19th centuries) descriptions of Hungarian traditional dances,

sitional rules" of these dances [Rethei 1924], but they were convinced in the "indecipherability"
eyewitnesses were already aware of the repetitive elements (figures) and some kinds of "compo-

of these rules. Daniel Berzsenyi (1776-1836) classical poet, lover of Hungarian dances and
---------
formation of the main ideas of structural approach in Hungary will give historical context to minutes long parts of the improvised dances and did not enable them to analyse the whole dance

1. Early ideas about the repetitive elements and traditional compositional rules of dances
Marian RHhei Prikkel (1871-1925) a Benedictine monk, well-known linguist and initiator
processes and realise the compositional rules in its totality.

Hungarian dance is poesy, unlike foreign dances regulated from the start till the end. A

Hungarian folk dances cannot be described in a final form, like folksongs. Only the figures can
be defined which, are repeated by individual dancers in different ways and forms. Thus figures
serve as supporting pillars of the dance form segregated in this way. Variations of the figures
arms and legs, finger-crackings, heal-clicks, stampings feet are made in order, in a rhythmic
But besides variability and freedom you may find unity and harmony in Hungarian dances
because steppings, descendings, hoppings, tumings, revolvings, and also clapping, beating the
Hungarian dancer creates majority of the figures himself in accordance to his ideas and ability.
of ethnochoreology research, identifies main phases, significant figures, auxiliary figures and Istvan Molnar (1908-1980) in his collection Hungarian dance tradition published in 1947,
ornaments in Hungarianfolk dances, which may remind us for the definition of sentences, words made a large step toward dance morphology. He, as a professional dancer and choreographer,
and suffixes in language. In his book Dances ofHungarians in 1924 he stresses:
having a practical approach to dance, cut the various folk dances into motifs, and arranged them
---------------------------------~----.--~-----.-

Hungarian dance is poesy, unlike foreign dances regulated from the start till the end. A
..

into a motif-catalogue according to their characteristic type of movement (step, jump, beat, clap,

and suffixes in language. In his book Dances ofHungarians in 1924 he stresses:

Hungarian dancer creates majority of the figures himself in accordance to his ideas and ability. and so on). At the same time he gave a full description of the dance process by means of code
But besides variability and freedom you may find unity and harmony in Hungarian dances numbers of the motifs. His source material was filmed and transcribed in verbal form by him
because steppings, descendings, hoppings, tumings, revolvings, and also clapping, beating the
arms and legs, finger-crackings, heal-clicks, stampings feet are made in order, in a rhythmic between 1941 and 1947 in nearly fifty villages of Hungary and Transylvania. 4 On the basis of
way [Rethei 1924:33]. his analytic work he drew the conclusion:

observe and transcribe the movements of the dancers as composition.

Rethei based his concept on a corpus of historical sources and some field experiences, but it was The Hungarian dancer never thinks beforehand of the figure, which he will dance the next
not enough for the elaboration of a clear conception of dance form. It was only the filming and moment. [t depends entirely on his disposition and momentary physical conditions .... Only free,
improvisatory dances can be accepted as Hungarian dances [Molmir 1947:13].
notating systems at the beginning of the 20th century, which made it possible for researchers to
writer of the first Hungarian dance aesthetics, writes in 1811:

observe and transcribe the movements of the dancers as composition. The weak points of his system originated from the variability of the motifs, that is, the same
LASZLO FELFOLDJ

The first researchers who had enough field experiences and filming practice to formulate motif occurs with different movement types Uumping, stepping, and so on), which brought about
more precise ideas about the language-like character of folk dance were Sandor Gonyey (1886- s lelkesedese hatart [Berzsenyi 1982: 134-135] problems in classification for him. In addition, he did not have enough dance documents for the
1963) and Laszl6 Lajtha (1892-1963). They were also imbued with ideas of national culture representation of the whole Hungarian dance culture, and the verbal descriptions of the motifs
Titkos torVlinyit mesterseg nem szedi rendbe

history, as Rethei was, but associated it with an ethnological view offered by Curt Sachs. were not easy to understand .
Besides we suspect, that Lajtha as an officer of the International Organization of Folk Art (later 2. Mature structuralism
IFMC) with strong international (mainly French) connections, had some knowledge about the After World War U, folk-dance research was affiliated with the Institute of Hungarology

phy of Hungarians, book series in 1937:

formalist trends in western folklore and art theory. During their activities from 1912 till the (1945-1948). Later the Dance Artists' Association and Institute of Folk Art provided an institu-
1950s they made about 1000 meters of film from about fifty villages for the Ethnographic
And his enthusiasm sets the limits.

tional base for dancers and movement theoreticians (Emma Lugossy, Olga SzentpaJ, Maria
Dancer himself defines the laws,

Museum, which served for them an institutional base. They published about thirty dances in SzentpaJ, and so on), who were hindered by the new political regime in dealing with modern
Csak maga szab torvenyt.
It is not like a craft with rules,

various publications, a series of drawings and verbal descriptions of motifs with precise indica- dance. They had a great role in the transmission of new ideas and techniques into the field of
tions of rhythmic-metric features of movements. The verbal descriptions are based on the films, folk dance research. s
but they are not accurate transcription of the recorded movements. They were not yet aware of way [Rethei 1924:33]. Lugossy Emma (1917-1994), introduced Labanotation into folk dance research in Hungary,
the existing movement theories and notation systems. The intensive filming activity of Gonyey and published the first collection of folk dances with kinetography. A large-scale collector and
present-day research.

and the folk-music research of Lajtha probably helped to create a solid theoretical basis for their kinetographer, she made an invaluable contribution to the development of morphological
analytic work in movement. 3 As they write in the "Dance" chapter of volume four in Ethnogra- methods. Her scope of attention expanded to all genres of Hungarian dance, and in the course of
phy of Hungarians, book series in 1937: her activity (1948-1956), she published comprehensive kinetograms with verbal transcription on
Hungarian folk dances cannot be described in a final form, like folksongs. Only the figures can them. (See Gonyey-Lugossy 1947; Lugossy 1952,1954,1956.) Thereby she created "literacy"
be defined which, are repeated by individual dancers in different ways and forms. Thus figures necessary for real scientific research on dance. From this voluminous material she extracted
History

serve as supporting pillars of the dance form segregated in this way. Variations of the figures about 1000 motifs as a basic motif repertory of Hungarian",dances grouped in the framework of
156

·1
 contemporary folkloristics, linguistics, ethnomusicology, movement the

In the third period of their work from the 1970s, Martin and Pes
previously been "private endeavour" research became a long-term scie

the previous analytical work of all the participants, they had to mak

gram according to regions, dance types, and dancers. Martin con

re

of field techniques. By the end of the 1950s, having gathered sufficie

ent
At the beginning of the 1950s a new generation appeared in Hunga

fir

T
fie

of the East-European social scientists about model building and typol

"
hi
ated
m
Pe

tion. Achievements of this period are Pesovar's analysis of sever

dancers with connections to Istvan Molnar. Their appearance as resea

Group, where Martin and Pesovar had a decisive role in the formatio

with the development of the analytical model, and began a systema

st
Motive t.\S the. hasit'

b
hodolo
Molive as the. basil'

Voigt 1969.) These discussions coincided with the work in the IFMC

applicability and reliability of the "Syllabus" became limited as.!l "uni

melhod applied for

In their second period from the 1960s till 1970s, stress was placed
mClhod upplied for

It
.~lructurc. rull,)..\j of
SlrUClUrc. ruk. .'i of
Annlitic Ihcory &

order to create a coherent and unified text for the final document, the
University under Gyula Ortutay, Linda Degh, and Lajos Vargyas.
Anulilic theory &

A
Transdanubia, Martin's diploma work on structural analysis of eight
Structural approach in Hungaria nfolk dance research

r-;elecl folk dance

practices. They tried to create a general analytical model that would

inspired
establishment in 1950 of a well-equipped institution for folk-dance

by the state (with all its positive and negative consequences). In the
Departm

Pesovar 1961), and a methodological study of the principles of

of
any kind of folk

were able to establish their own research model and new analytical
from 1950 until 1960 young researchers concentrated on extensive
dance structure

hallmarked by the names of Gyorgy Martin (1932-1983) and Erno

ilnpwYisatioll,
impmvis.ali on.

HAS.

particip

."
clemenl of
clcl1lclll of

crcfllivify,
crcnrivifY,

theory

ructures
Iv lolo~v
typology

cal-met
repcnofY

of

turn
the

)
Group

Pesovar
the
K()(llly. ZolHio

"text-st
theoreti
Koduly. Zuluin
Onutay. Gyula
nonilc Jaqllcs-

in
in

on

he
Dalcml.c.

up"

h
IFMC
IFMC
ICKL

Researc

and
partly
y

literary
t

summar
modern
ethnographic knowledge, having been "brough

analyst,
1950-19KJ
1947-1990
1947-1908

(and
Folk Art and later in 1965 the Folk Music
1950-

and
most

his

Martin

al
musical
Cuhurc.lns lilUlc
Culture., Institute
Academy. Music

structur
Illllsic~ and dance ror MWiicology
for Mu.'iicnlogy

(1958, Martin's diploma study),6

Ethnugraphic

and
Dramalic An
Academy of
State Dance

Inslilule of
(nstitu(c or
JnslilUtc of

Hung,,,i,,n
Hungari~ln
Hungarian
EnslIl1lblc..
SIIIle Folk
Academy,

MIIS-CUIll,

1960s
of HAS
of HAS
Culture

al

classification of the kinetic,

159
Structural approach in Hungaria nfolk dance research

a
tradition

as
158 LAszL6 FELFOLDI

the
Anulilic theory & Precise vcrh:Il & Fill1l "PP. wilh

dance folklori st

work
dancc hislorian.
nonilc Jaqllcs-

m{xh:rn dancer.

choreographer.
musicologist, State Dance 1947-1908

choreographer

kinc(ograllhcr.

clhnoyntphl\f,
Sl.cnlpal.O lgu

cthnograpllcr,
mClhod upplied for kinclngr. transcr. spring. mute

musicologist,

folk dancer.
men's dances and march). Academy. Music Dalcml.c.
genres (children games, women's round dances, mixed couple dances,
dancc hislorian.

In
lh\!orctitiol1
.. ~ (IR95-196~)

I1IOV0Il101l1 -
r-;elecl folk dance of dances Operalur (K.

folklori"
m{xh:rn dancer. Academy, Onutay. Gyula

Iinguisl.

the
ent theory concentrating KO\,11cs.

. This monumental analytic work was inspired by Rudolf Laban's movem repcnofY frcgm~nls in situ

further
choreographer Academy of

1963).
, :mdon IiIm L\szlci)
ent (time, space and energy) , lending to her work a kind Dramalic An
on the characteristic features of movem

amalgamated
kinc(ograllhcr. SIIIle Folk 1947-1990 ICKL Annlitic Ihcory & Precise kinclugr.
But the lack of ethnogr aphic materia ls made Lugossy 's achieve ments sche- Szcnlp'U. J..1lilia
melhod applied for & vcrhallruns cr.
of professionalism.

M,,,lin, Gyiirgy
EnslIl1lblc..

Szcnlp'U. J..1lilia
(1 920-1996) I1IOV0Il101l1 -

Sl.cnlpal.O lgu
movement

Pcso\lar. Ern6
of tlann'

Martin's
to systema tise the any kind of folk
matic and unreliable for a broader synthesis. Her ambitious plan

Pesovar
(1932-1983)
lh\!orctitiol1 Hungarian

(1 920-1996)
(IR95-196~)

history.
dance structure frClgmcnts in situ
realised . (See JnslilUtc of
culture of Hungar ians was not
elements and motif repertory of the whole dance and from film

(1926-)
Culture
tion of motifs instead Koduly. Zuluin Molive as the. basil' Precise kinclogr. Suund mill
Lugossy 1960.) Later generations of research ers blame her for the idealisa Pcso\lar. Ern6 cthnograpllcr, Ethnugraphic 1950-
with .sycnchmn
clcl1lclll of Tnmscr. of
individu al concret e variatio ns, for neglige nce of the actual connect ion of (1926-) choreographer. MIIS-CUIll, IFMC
lenglhy. whuic mu~ic .
of an analysis of the y. dance folklori st Hungari~ln SlrUClUrc. ruk. .'i of
and omissio n of typolog or individuul dunces c1cclrinic
music and dance, elimination of the compositional rules of dances, (nstitu(c impmvis.ali on.
on fi1mn.·(.~ . 4
l deficien cies of dance docume ntation and her Culture., Institute crcnrivifY,
These problems can be explained by the technica for Mu.'iicnlogy typology successively

lack of ethnographic background. of HAS

Motive t.\S the. hasit' Precise kinClogr. Suunf Cilm wilh
and 1919-1995) did K()(llly. ZolHio
At the same time as Lugossy, Olga and Maria Szentpa l (1895-1958 M,,,lin, Gyiirgy folk dancer. Hung,,,i,,n 1950-19KJ
IFMC clemenl of Trnnscr. of" synchmn
(1932-1983) Iinguisl. Inslilule of
from various ethnographic
intensive work in collecting, and publishing folk-dance material .~lructurc. rull,)..\j of Icnglhy, whole. music.
clhnoyntphl\f, Cuhurc.lns lilUlc
individmtt dunces elcctrollic
in the late 1940s and early 1950s. Illllsic~ and dance ror MWiicology
ilnpwYisatioll,
groups and regions (Bukovinian Seklers, Bodrogkoz, Sarkoz) on film rcc.-

problem was the lack of

crcfllivify,

relationships. (See other

the system in a scientific
Olg,! 1958, 1963]. It is a

the dancers' inten-

rical background. They
ian, but the traditional

Film .ppaTaIUs
of HAS

movement notation, their

other

nally
c values of Hungarian folk

FHm apparatus
Emil
used their folklori"

used their
early 1950s.
ethnographic
and

connection of
,

and 1919-1995) did

Film apparalu.,
dances)

and her
round

tise the movement

of typology.
not realised. (See
's sung

of motifs instead
women

y's achievements sche-

ent theory concentrating
succes~ ivcl )'

, lending to her work a kind

(namely

spring, mute·
men's dances and march).
They conc~ntrated on selected dance genres Iv lolo~v

spring. mute
condiliolls
Technical

with spring.
ls with occasio nal compar isons with other

with with
materia

with with
analytic method for these homoge neous dance

exceptio
theory (Rudol f Laban, Emil ian folk-dance research,

with
genres. Based on the ideas of various schools of movement

Laban,
At the beginning of the 1950s a new generation appeared in Hungar

I'holO

mule
they develop ed an exceptio nally Pesova r (1926-) . They had

ntation
Dalcroze, Valeria Dienes) in the second half of the 1950s,
hallmarked by the names of Gyorgy Martin (1932-1983) and Erno

and

processes on mm
illdividual dances.
c values of Hungarian folk

isons

individual danceg
of Folklore of Budapest

dance frcgmcnls
transcriptions of
elaborated system of formal analysis in order to reveal the aestheti

I.!.cllcral dl;scr. of
ent

Idealised verbal
transcriptions of
ethnographic knowledge, having been "brought up" in the Departm

Idealised verhal

lnmscription of
rdealisc'" verbal

transcription of
and

Pn:cisc verhal
movement notation, their

;CCCI11 dances
f

Ohjeel "f

whole single
practice of were all practical

various
of Laban's

an
dge s. They

anal ysis

& kinctogr.
knowle

,
deep Vargya

(Rudol
dances. They combined their University under Gyula Ortutay, Linda Degh, and Lajos

omissio

dances)
actual

docume

compar

from film
rical background. They

Hislorical
own theoretical activity in this field and their musicological and art-histo ers coincid ed with the

on mm
research

1940s
dancers with connections to Istvan Molnar. Their appeara nce as

on film
ed
tion

reflect
ian, but the traditional
systema
aimed at a universal system suitable for the analysis of not only the Hungar was
folk-dan ce research in the Institute of

develop
establishment in 1950 of a well-eq uipped instituti on for

At the same time as Lugossy, Olga and Maria Szentpa l (1895-1958

Hungar
1958, 1963]. It is a idealisa
the
al dance sources [Szentp al, Olg,! It was at that time, what had
dances of other peoples as well as historic Folk Art and later in 1965 the Folk Music Research Group of HAS.

from

theory
They conc~ntrated on selected dance genres (namely women's sung round

art-histo
Lugoss

modern dancers m(H'cmcnl (ypc."i &

as national fenlurc,'i
and

as n~uional fc-alures

way~ of improv . .in

d;mcc e-Icmcms as
late

nal

main
dance

indi \'idmll dunces

the system in a scientific
ians

Cenlral prohlcms

"individual dances
individual dances
ed
pity that the selected dance material was not reliable enough to test
movem

Ku"iily, Zollon. Dc:tc:rmination of

support

fIltltivc· rCfh!rlory
DCICJ'lnination or
ic program

DClermin;ltion of

CI(lssificat'ion (If
tions. Later generations also miss the importance of dance and music
m scientif

not
of
previously been "private endeavour" research became a long-ter

naliolml fCulurc.'1
of

Alhrccht Knu!O;l, SclCF.':t da1lce &

dances of other peoples as well as historical dance sources [Szentpal,
test

Folk dance analysts in Hungarian research

of allnl ysis
occasio
problem was the lack of
genres (children games, women's round dances, mixed couple dances,

elaborated system of formal analysis in order to reveal the aestheti

,
way. Today students find it too complicated and speculative. The main

c]""ificd by
dances, the first period of their activity
to

ences). In

the
e consequ
Hungar

by the state (with all its positive and negativ

V:,lcria. French motivcs by

nce

practice
l
on the characteristic features of movement (time, space and energy)

motives of
they

molives of
do
the
materia

The
the dancers' inten-
Lugossy 1960.) Later generations of researchers blame her for the

, but do not reflect of fieldwork and improv ement

ent
ethnographic knowledge. Their transcriptions are accurate

to
from 1950 until 1960 young researchers concentrated on extensive
plan

genres
made

in
neglige

but
and
music relation ships. (See other nt field experiences, they
Laban's

and

only
nce of dance

pity that the selected dance material was not reliable enough
tions. Later generations also miss the importa sufficie

movem
cies
By the end of the 1950s, having gathered

1950s,
of field techniq ues.

Sarkoz)

tive.
analytic method for these homogeneous dance materials with
s. In this work they
us

of

1963.) analytic al method

of

new

,
objections in Martin; Pesovar were able to establish their own research model and

ogical

accurate
deficien

Kod;'ly.Z"II,\n
dances. They combined their deep knowledge of Laban's
ls
ambitio

not
ce ical concepts offered by

Cnnllcclions
theoreti cal-met hodolog

specula
of professionalism. But the lack of ethnographic materia

Uarlok, Bc!:,
rules

amalgamated the traditional and most modern

culture
LAszL6 FELFOLDI

folk-dan
for
Rudolf

and music and dance

contemporary folkloristics, linguistics, ethnomusicology, movement theory,

of
of

Val~.fia ,
the

Dicncs,
Diene~ .
musicol
koz,

11"'11-1("
Folk dance analysts in Hungarian research
of an analysis of the individual concrete variations,

analysis
itional

history.
genres. Based on the ideas of various schools
of

are
l
Her

analysis and classifica-

technica

In their second period from the 1960s till 1970s, stress was placed on

and
dance

Bodrog
by

Technical

half

1941-J956
Ohjeel "f d dances form

1938-1953
Cnnllcclions Cenlral prohlcms

1912-1%3
shepher

ptions
Period of several

1920·1963
of
intensive work in collecting, and publishing

Period of
analysis

1903-1925
's

acliyil Y
Affllimion are Pesovar
Name Rnckgn.)und anal ysis condiliolls tion. Achievements of this period

own theoretical activity in this field and their

music and dance, elimination of the compos

of allnl ysis

way. Today students find it too complicated

acliyil Y
is.

male dances
inspired

I'holO work on structur al analysis of eight Transyl vanian

the
DClermin;ltion of Hislorical diploma
1903-1925 Transdanubia, Martin's
whole

schools of
matic and unreliable for a broader synthes

second
Rethei. Prikkcl Benedicline
d;mcc e-Icmcms as theory of motif morpho logy (Martin;
(1958, Martin's diploma study),6 his summary on the
,

transcri
the

monk, linguist, Benedicline

Seklers

Muri:)n I.!.cllcral dl;scr. of

for
naliolml fCulurc.'1 ;
(1871-1925) lhenlogic leacher Order of the principl es of structur al analysis (Martin
Pesovar 1961), and a methodological study

Music Acndcl1lv
;CCCI11 dances

objections in Martin; Pesovar 1963.)

by

Hungarology,
ions
aimed at a universal system suitable
Film apparalu., ated in theoreti cal discuss

Ethllogrnphic
Affllimion
rdealisc'" verbal ) particip
the

Amateur ~lOd
Elhnographic
was

DCICJ'lnination or (and partly Pesovar

Stale Dance
Martin

professional
Elhnographic 1920·1963 Pesovar 1963). In the 1960s

In<lilulC or
Benedicline
Giinycy, S.I1Ilor ehnographcr,
the

cns<unblcs
transcriptions of with spring.

Academy
Buda","I.
schools of
molives of y of social and cultural
ed

Museum,
of the East-European social scientists about model building and typolog

Museum.
lack of ethnographic background.

BudapcS!
Museum.

ethnographic knowledge. Their

(1 886- 1963) biologisl
groups and regions (Bukovinian
of

individual dances individual danceg mule

These problems can be explain
This monumental analytic work

BudapcS! for the analysis and

lhenlogic leacher Order

would be valid
on film
practices. They tried to create a general analytical model that
Dalcroze, Valeria Dienes) in

as n~uional fc-alures
y

Ku"iily, Zollon. Dc:tc:rmination of Idealised verhal

." A confere nce in 1968 inspired
elements and motif repertor

Lnjlllll. LlisLI6 cthnn- Ethllogrnphic 1912-1%3

motives of transcription of classification of the kinetic, musical and literary "text-st ructures
Uarlok, Bc!:,
Museum, colleagu es. (See

dancer (modern
( ISln-I9Cl3) mu ~ icologist
illdividual dances. al analyst, and he in turn inspired his analyst
Martin's further work as a structur

kinelographcr.
chorcogn lphcr
11"'11-1(" "individual dances

monk, linguist,
Rnckgn.)und
composer Buda","I.

ehnographcr,

mu ~ icologist
ology Study

professional
as national fenlurc,'i from film Dance Termin
Voigt 1969.) These discussions coincided with the work in the IFMC

Benedicline

Gcrnmnisl,
Music Acndcl1lv

composer

and folk)
Diene~ . CI(lssificat'ion (If Pn:cisc verhal FHm apparatus

biologisl
Amateur ~lOd 1938-1953 n of the concept s. Due to

dancer,
Group, where Martin and Pesovar had a decisive role in the formatio
Moln:lr. [slv,;n professional lnmscription of with with

cthnn-
dancer, professional V:,lcria. French motivcs by
(1908-1980) spring. mute compro mises in
modern dancers m(H'cmcnl (ypc."i & whole single they had to make serious
chorcogn lphcr cns<unblcs
way~ of improv . .in processes on mm the previous analytical work of all the participants, the
text for the final docume nt, the "Syllab us." This is why
order to create a coherent and unified

Lugos., y. Eonllla
Giinycy, S.I1Ilor
indi \'idmll dunces

Moln:lr. [slv,;n
Rethei. Prikkcl

Lnjlllll. LlisLI6
Film .ppaTaIUs sal" analytical system.
applicability and reliability of the "Syllabus" became limited as.!l "univer
Idealised verbal

(1917-1994)
Alhrccht Knu!O;l, SclCF.':t da1lce &

(1908-1980)
( ISln-I9Cl3)
(1 886- 1963)
1941-J956

(1871-1925)
Lugos., y. Eonllla Gcrnmnisl, In<lilulC or

Name
& kinctogr. with with
Dicncs, fIltltivc· rCfh!rlory Pesovar 's generation went on
In the third period of their work from the 1970s, Martin and
(1917-1994) kinelographcr. Hungarology, spring, mute·
Val~.fia , c]""ificd by transcriptions of

Muri:)n
dancer (modern Stale Dance publication pro-
began a systema tic source
and folk) Academy Kod;'ly.Z"II,\n genres dance frcgmcnls
with the development of the analytical model, and
on mm
types, and dancers . Martin concent rated on questions of
gram according to regions, dance
158
 of support, defined by Hungarian researchers in East-European dances (
the dancing community. In case of "acceptance," invariants may beco
ity/temporality of the structural elements and verticality - coordinative or

tion allow researchers to shed light on creative processes and creativity o

teristic features and leads to notions of improvisation, variation, creativity

mental task of form analysis. By qualitative analysis (taking into co

holding body part) has a special status in defining relatedness and classes

and on the character of local dance cultures. Relativity of the results ma

which in the majority of cases are the result of conscious intention and
of a dance. Analysis of all the dance processes belonging to one indiv

rhythmic, dynamic, kinetic, structural and bodily features of the dance el

ual character of the East-European dance traditions having a rather op

Martin basically uses formal-structural and functional criteria. Related m

features of an integrated group of variants. For instance, in his typo

/2/ and double /31) expressed in a formula, combined with the rhythmic f
entiate the significant and insignificant variants. Significant variants crea

invariants - may be interpreted for example, as new creative "suggestio

mum, if we use an appropriate amount of reliable samples for the analy

conception. Each of the significant variants may have several insigni
dance process is most suitable for the many-sided formal analysis and i

folklore, and single dance processes represent integral parts of the traditi
forms (phrases, sections, stanzas, parts and dances) . Comparison of the

should be interpreted as variants,9 which are based on the fairly free, im

character of a dance or a whole dance culture. Elements without va

These features demanded from the researchers much attention to "variati
local community, or one dance type, or a region, gives insight into the f

kind of kinetic composition where planning, creation and performance

same moment. It can be interpreted as process and product at the same ti
Motif families constitute the whole motif repertory of a dancer, a re
family comprising occasionally as many as several hundred variants with
indicate the variability, flexibility, and prosperity of a structural elem
most important form-building devices (Martin 1964,2004; Karsai-Marti

Identification and classification of variants on all levels of the dance

Variation is closely related to improvisation and regulation. Im

other analytical frameworks." Measure of relatedness between motif sa

phology.12 These ideas of dance analysis may convince students on eth

implemented with the signs of some plastic-kinetic components, are effe
associated with other similar dance processes, that are treated as variants.

ship between them from the smallest elements (motif, motif cells, motif

processes that are integrated into an adequate comparative framework,

tural analysis of the variants, examination of the variability, motivations

The idea of "variation" implicates also the notion of "type," which
knowledge and dance culture. 8 Since variation is the basic form of
Analysis of a single dance process gives the possibility of exa

the above mentioned kinetic, structural and bodily features . Among the
negligible differences. The quantity of variants (both significant and
of interpreting and the ability to define the compositional rules together
Structural approach in Hungarian folk dance research

with several insignificant ones, or they may disappear in time.

. ---------------
Structural approach in Hungarian folk dance research 161
160
LASZLO FELFOLDI
. ---------------
------._
dance process is most suitable for the many-sided formal analysis and interpretation. It is also
typolo~~, kno,:,,~edge'H' indivi~ual ::~tC~:n~~ndg t~~df~~~~i:l:

analytical framework.
comparative structural "dance ?f the associated with other similar dance processes, that are treated as variants.
of dancing in tradltlOnal commulllhes. lS monograp sa . .' Analysis of a single dance process gives the possibility of examining both the linear-
r~~f;~~~d Karsai and Istv{m Matyas), published after his death, are great achlevem~nts. m thls ity/temporality of the structural elements and verticality - coordinative or subordinative relation-
field of research. (See Karsai-Martin 1989; Martin 2004.). 1~ these .two volumes a~m gt~~e

1961,1963).
ship between them from the smallest elements (motif, motif cells, motif elements), to the bigger
examples for a systematic dance index. It is based on the dlctlonary-hke arra2ge~ent.o d.m.~ I ~'

------._
forms (phrases, sections, stanzas, parts and dances) . Comparison of the microstructure to more
motif es and motif families in the framework of the "life-work" of a ancmg m lV.l ua, processes that are integrated into an adequate comparative framework, provide a dynamic way
b ty~ Martin motif is the most "durable" constituent elements of the dance. But he dld not of interpreting and the ability to define the compositional rules together with the whole grammar
tcause t~e level ~f motif. He also went on with the classification of higher structural el~ments of a dance. Analysis of all the dance processes belonging to one individual, or a family, or a
( ~~ ~artin 1980b) With this kind of "dance dictionary" he intended to create a firm ~aSlS. for a local community, or one dance type, or a region, gives insight into the formal-structural charac-
~ide-ran in ,com~arative dance research of the future. Pesovar focused. o~ the exammatlOn of teristic features and leads to notions of improvisation, variation, creativity, dancing ability, dance
single da~c; processes at their micro-syntactic level and improved the pnnclp!es an1 ~eth~d of knowledge and dance culture. 8 Since variation is the basic form of existence of Hungarian
the structural formula-like formalised expressive tool for the represen.tatlO.n 0 t ~ m~ar folklore, and single dance processes represent integral parts of the traditional dance culture, they
structure. His publications on the classification o~ coupl~ dances and t~e hlstoncal(~ratl;catlO,~

Dance analysis begins with the transcription, but all the other documents are also used. A smgle
recorded by magnetophone or video and kept in memory). All three represent a ore . or
les;;dealised image of a once performed dance improvisation, and they all reflect t~e obJe~tlv~
is ~~e an individual "utterance" of a speaker in a given language. ~ance proc~sses .have three
characteristic forms: transcriptions, film documents, and field experiences (wntten m the field
Martin-Pesovar 1961; Karsai-Martin 1989; Martin 2004). Ifwe use a hngulstlc analogy, It
coherent sequence of dance movements - isolated from the dancmg actlvlty. of ~ I~ca commu.-
researcher. The basic analytical unit is the single "dance pr?cess" .-. a closed, s~ructure ,
sented by "performances" experienced, documented (film) and transcribed (LabanotatlOn) by t~e
The starting point for structural analysis is dance movement as a. "kmetlc langu~ge repre-
cove~ all the fields of structural linguistics, but is foc~sed on movement analogles of morphology
Hun ary. It is an open concept, gradually developing, and posslble to be lmp~oved. It does not
writings of Martin and Pesovar, their analytical method is not a ~nal\y de~ned, closed system m
t
should be interpreted as variants,9 which are based on the fairly free, improvisatory and individ-

and subjective conditio~s of documentation, analysis and interpretation of the "dancmg rea~lty.
terislc features and topics, namely basic analytical UllltS, van~tlOn theory, suppo:t p~~c,pled
Since many of the concepts of the Hungarian method of analysIs have been mcorporated mto
the S lIabus, it is unnecessary to give a detailed descript~on of i~.7 .1 concentrate here on ~ha.rac­
o:;~~~~n~eir ap~licability to a wider range. (See KUrti 1980, Palfy 1989, Karacsony 1990,
,
nication theor . She conceptualises the dance as a multl-medlal t~xt (c?~m~lllcatum ,

Palfy and FUgedi applied Martin's analytical innovatIOns to new matenals and dem-

an 0 er re eva~
~~~~u needs a multI-dimensional analytical method and suggest~. the .l~t;~~lfl~;~I~) a::u~~
of Hungarian dance traditions are evidence of hls metlcul~us analyt~cal work.

FUgedi 1998.)' Csilla Konczei has suggested a complex appro~ch to. dance analysIs .ase o)n
tion databases for the formal-structural analysis of different dance forms. (See Fel~ol~ 20~5b,
~onstruction of dance-catalogues. Their aim is to establish an mternatlonal network ?,f l.n orma-
ided s:Stem olform analysis, which would be suitable for la:ge-scal.e compaflSon an~ ~or the
The re~ent eneration of Hungarian ethnochoreology researchers IS workmg. on a computer-
~ide-ran in ,com~arative dance research of the future. Pesovar focused. o~ the exammatlOn of
single da~c; processes at their micro-syntactic level and improved the pnnclp!es an1 ~eth~d of

structure. His publications on the classification o~ coupl~ dances and t~e hlstoncal(~ratl;catlO,~

individuality principle, improvisation, the importance of mUSlC and dance relatIOns Ip an

the structural formula-like formalised expressive tool for the represen.tatlO.n 0 t ~ m~ar
( ~~ ~artin 1980b) With this kind of "dance dictionary" he intended to create a firm ~aSlS. for a
ty~ Martin motif is the most "durable" constituent elements of the dance. But he dld not
tcause t~e level ~f motif. He also went on with the classification of higher structural el~ments
ee esova

es and motif families in the framework of the "life-work" of a ancmg m lV.l ua,
field of research. (See Karsai-Martin 1989; Martin 2004.). 1~ these .two volumes a~m gt~~e
examples for a systematic dance index. It is based on the dlctlonary-hke arra2ge~ent.o d.m.~ I ~'

ee esova
r~~f;~~~d Karsai and Istv{m Matyas), published after his death, are great achlevem~nts. m thls
indivi~ual ::~tC~:n~~ndg t~~df~~~~i:l:
ual character of the East-European dance traditions having a rather open and loose structure.

.'

.
1997 2003 and Szanyi dus [Dus dance from Szany Village] m Appen~lx A.) .

n:
These features demanded from the researchers much attention to "variation," which is one of the
The re~ent eneration of Hungarian ethnochoreology researchers IS workmg. on a computer-

"
most important form-building devices (Martin 1964,2004; Karsai-Martin 1989; Martin-Pesovar
ided s:Stem olform analysis, which would be suitable for la:ge-scal.e compaflSon an~ ~or the

'.'
1961,1963).

' 6 1 ) d th
~onstruction of dance-catalogues. Their aim is to establish an mternatlonal network ?,f l.n orma- Identification and classification of variants on all levels of the dance structure are the funda-
tion databases for the formal-structural analysis of different dance forms. (See Fel~ol~ 20~5b, mental task of form analysis. By qualitative analysis (taking into consideration the plastic,

.
of Hungarian dance traditions are evidence of hls metlcul~us analyt~cal work.
FUgedi 1998.)' Csilla Konczei has suggested a complex appro~ch to. dance analysIs .ase o)n

.,
.

rhythmic, dynamic, kinetic, structural and bodily features of the dance elements) we may differ-

1997 2003 and Szanyi dus [Dus dance from Szany Village] m Appen~lx A.) .
nication theor . She conceptualises the dance as a multl-medlal t~xt (c?~m~lllcatum , entiate the significant and insignificant variants. Significant variants create a group of variations,
~~~~u needs a multI-dimensional analytical method and suggest~. the .l~t;~~lfl~;~I~) a::u~~

As can be seen from their methodological sketch (Martm-Pesovar 19

semantic analysis as component of the analytical process. (Se~ Konczel
which in the majority of cases are the result of conscious intention and definite form-building
semantic analysis as component of the analytical process. (Se~ Konczel '.' , conception. Each of the significant variants may have several insignificant ones with slight,
lS monograp sa

and syntax of a specific movement language (Hunganan folk dance).

K ' Palfy and FUgedi applied Martin's analytical innovatIOns to new matenals and dem-

.
negligible differences. The quantity of variants (both significant and insignificant ones) may
o:;~~~~n~eir ap~licability to a wider range. (See KUrti 1980, Palfy 1989, Karacsony 1990, indicate the variability, flexibility, and prosperity of a structural element and may decide the
FUgedi 2005 .) character of a dance or a whole dance culture. Elements without variations - the so-called

.
Some characteristic features of the Hungarian method . . . invariants - may be interpreted for example, as new creative "suggestions" for the members of
?f the

Some characteristic features of the Hungarian method

Since many of the concepts of the Hungarian method of analysIs have been mcorporated mto the dancing community. In case of "acceptance," invariants may become significant variants
LASZLO FELFOLDI

the S lIabus, it is unnecessary to give a detailed descript~on of i~.7 .1 concentrate here on ~ha.rac­ with several insignificant ones, or they may disappear in time.
kno,:,,~edge'H'

terislc features and topics, namely basic analytical UllltS, van~tlOn theory, suppo:t p~~c,pled The idea of "variation" implicates also the notion of "type," which represents the common
of dancing in tradltlOnal commulllhes.

individuality principle, improvisation, the importance of mUSlC and dance relatIOns Ip an features of an integrated group of variants. For instance, in his typology of motif variants,
Martin basically uses formal-structural and functional criteria. Related motif types create a motif
structural typology. . ' 6 1 ) d th I t
As can be seen from their methodological sketch (Martm-Pesovar 19 an 0 er re eva~ family comprising occasionally as many as several hundred variants with the same motif core. lO
writings of Martin and Pesovar, their analytical method is not a ~nal\y de~ned, closed system m Motif families constitute the whole motif repertory of a dancer, a region, a genre (or of any
"dance

Hun ary. It is an open concept, gradually developing, and posslble to be lmp~oved. It does not other analytical frameworks." Measure of relatedness between motif samples can be defined by
cove~ all the fields of structural linguistics, but is foc~sed on movement analogles of morphology the above mentioned kinetic, structural and bodily features . Among them "support" (the weight-
and syntax of a specific movement language (Hunganan folk dance). ., " holding body part) has a special status in defining relatedness and classes. The three basic kinds
typolo~~,

The starting point for structural analysis is dance movement as a. "kmetlc langu~ge repre- of support, defined by Hungarian researchers in East-European dances (repetitive /1/, changing
sented by "performances" experienced, documented (film) and transcribed (LabanotatlOn) by t~e /2/ and double /31) expressed in a formula, combined with the rhythmic features of the motif and
researcher. The basic analytical unit is the single "dance pr?cess" .-. a closed, s~ructure , implemented with the signs of some plastic-kinetic components, are effective tools in motif mor-
coherent sequence of dance movements - isolated from the dancmg actlvlty. of ~ I~ca commu.- phology.12 These ideas of dance analysis may convince students on ethnochoreology that struc-
comparative structural

structural typology.
ni Martin-Pesovar 1961; Karsai-Martin 1989; Martin 2004). Ifwe use a hngulstlc analogy, It tural analysis of the variants, examination of the variability, motivations and tendencies of varia-
is ~~e an individual "utterance" of a speaker in a given language. ~ance proc~sses .have three tion allow researchers to shed light on creative processes and creativity of the individual dancers
FUgedi 2005 .)

characteristic forms: transcriptions, film documents, and field experiences (wntten m the field and on the character of local dance cultures. Relativity of the results may be reduced to a mini-
dia recorded by magnetophone or video and kept in memory). All three represent a ore . or n: mum, if we use an appropriate amount of reliable samples for the analysis and use an adequate
les;;dealised image of a once performed dance improvisation, and they all reflect t~e obJe~tlv~ analytical framework.
and subjective conditio~s of documentation, analysis and interpretation of the "dancmg rea~lty.

dia
K '

Variation is closely related to improvisation and regulation. Improvisation represents a

motif

ni
Dance analysis begins with the transcription, but all the other documents are also used. A smgle kind of kinetic composition where planning, creation and performance happen (almost) in the
160

same moment. It can be interpreted as process and product at the same time . As Martin says:
 dances examined in a broader geographical framework (Martin 1

As we have already remarked, the Hungarian analytical meth

typology, he emphasized (Martin 1964:231 ; 1980a:395). Construc

focused on major structural elements and typology. (See PeS,.ovar 19

improved. It does not cover all the fields of structuralist idea of lin

features is an emphasis on the important characteristics of the ob

which aims to discover the deeper relations among the single varian

theory, which has a basic role in the whole structural concept, dete
East-European individual, improvisative folk dance. This focu
dance-catalogues can create a firm basis for cross-cultural comparati

The present generation of Hungarian researchers (FelfOldi, Laszl6

analysis. (See Martin 1955, 1964; Karsai-Martin 1989 posthumou
so on). (See Felfoldi 2001.) Martin's article in 1977 about a danc
structure of the phrases, recurrences of the beginning formula and clo

closure of the regional differences and connections of the vario

traditional dances, mainly couple dances; and their common summ

dances and their European relations; Pesovar's book about the hi
The theme of dancing individuality is closely connected to the

framework: the life work of individual dancers, a regional da

(and other structural elements) in all the three frameworks can hel
to some other, hidden regularity, namely to the rondo-like undula

Zoltan; Konczei, Cs ilia; Patfy, Gyula and their students) go in diff

on the morphology, phonology and syntax of a well-defined kineti
Structural typology refers to the combination of the formal
dance event) and the knowledge about dance (ideologies, opinions
rhythmic framework. But composition of the phrases/sections into hi

greatest achievements in this field in Hungary are Martin's mon

is one of the basic tools for structural tyPOlogy.16 The complex o

types and dance cultures are exemplary for use of the results of str
Struclural approach in Hungarianfolk dance resea

selecting the adequate approaches and in defining proper methodolo

structural types in East-European improvisative dances, Martin s
understand the characteristic features of the local dance cultures. T

logues or dictionaries) of a well-defined corpus of dance variants (

reveal the form repertory and the "grammar" of an integrated group
determining the content of the "collective memory" in a local comm

tion of dances and whole regional dance cultures (Martin 1965a; 1

closed system. It is an open, variable concept, gradually dev

approaches in folk-dance research. (See Martin 1977c; Martin 20

hand they endeavour to complete the comprehensive source publi

music relationships is a good example for the successful combinati

improvisation-regulation, creativity, and the introduction of the in

Martin's main achievements in this field are: the development
framework of the main historical dance types/genres . The careful
edge," which comprises not only the pure "know-how" (grammar

sonal knowledge of systematically selected dancing individuals

is, how to compose a dance), but the knowledge of dancing (ho

Martin, Pesovar 1983). Martin's articles about the East-European

factors [Martin 1977a: 286-287].
I:

162 LAszL6 FELFOLDI Struclural approach in Hungarianfolk dance research 163

:i
Improvisation means only apparently -
-------------------------------------
for the first sight and for the superficial observer - structure of the phrases, recurrences of the beginning formula and closing motifs, and the stable
,, instinctive anarchy and accidental eventuality. Improvisation always occurs according to rhythmic framework. But composition of the phrases/sections into higher structural units is due

Conclusion
certain individual and common regularities. The inclination and phenomenon of improvisation to some other, hidden regularity, namely to the rondo-like undulation of the form-building
is always preceded by a long practice, and every instantaneous improvisation is assimilated to the factors [Martin 1977a: 286-287].
series of more or less different variations of performances affected earlier [Martin 1980a: 394]. The theme of dancing individuality is closely connected to the question of "dance knowl-
An improvised composition comes into being under the tension of different contrasting poles, edge," which comprises not only the pure "know-how" (grammar and compositional rules, that
such as: otherness and sameness, freedom and regulation, openness and perfection, unexpected is, how to compose a dance), but the knowledge of dancing (how to behave as a dancer at a
and expected, contingency and preparedness, and so on. Motivation for the dancer on one hand dance event) and the knowledge about dance (ideologies, opinions, memories, evaluations, and
is to be faithful to the traditional forms preserved in the collective memory - to be the same, so on). (See Felfoldi 2001.) Martin's article in 1977 about a dancer's knowledge of dance and
expected, perfect. On the other hand, his ambition is to adjust his personal knowledge to the music relationships is a good example for the successful combination of structural and cognitive
"moment," to increase effectiveness of his performance - to be, unexpected. Important factors of approaches in folk-dance research. (See Martin 1977c; Martin 2004.) Comparison of the per-
improvisation and regulation are the grammaticality (way and degree of structuredness) of the sonal knowledge of systematically selected dancing individuals may help the researcher in

comprises not only the analysis of the improvisations of single dancing individuals as products of

of the "performance" for a given dance event. Martin's article about the structural characteristic
Individuality principle constitutes a basic component of structural analysis in Hungary.13 It

the personal techniques of meaning imputation to the various structural elements at the moment
Regular observation and documentation of the improvisations help ethnochoreologists in opening
approach helps the researcher to find the connection between an individual's creativity and the

features of the Transylvanian male dances in 1977 gives a splendid survey of the effective tools
collective knowledge of the community. In addition, it makes it possible to follow the structural,
their dancing activity, but also the examination of the lifelong process of dance creation, their
[Martin 1977a: 286-287; 1977b (in German)] . However, Maria Szentpal found that exaggerating

bers of the community, their relation to the single improvisations and so on. The individuality

compositional changes during the life-career of individual dancers (Felfoldi 1999,2001, 2005a).
"moment," to increase effectiveness of his performance - to be, unexpected. Important factors of

role in their dancing community, their relation to the collective knowledge shared by the mem-
Martin's methodology these musical features have serious consequences in the structuralanalysis
and classification of dance. He suggests taking music into consideration in the segmentation,
identification and typology of the structural kinetic elements and stratification of historical layers
the decisive role (Martin-Pesovar 1961; Martin 1965b; 1980a:399-404; FelfOldi 2001). In
plex musical accompaniment (melodic and rhythmic together), the rhythmic accompaniment has
where both music and dance can prevail and can give impulses to the other. In the case of com-
structuring the composition. In East-European traditional dances, dominance of the components

dominance of dance movement and music. (Other components seem to be of less importance.)
nomena. It seems to be evident, that all the possible components (music, poetry, drama, play)

Dance and music (and text if it exists) proceed in the same kind of metro-rhythmic and tempo
change depending on the genre. In the majority of the participatory dances we may witness the
and occasionally material requirements (props, costumes, and so on) may play a decisive role in

framework. Their connection is an interplay between their structural elements in this framework,
Dance and music relationship - belongs to the problems of the coordinative or sub-ordina-
tive relations between the constituent elements of the "dance" as a complex, multimedial phe-
dance genres and features of their accompanying music. Analysis of these features is very
expected, perfect. On the other hand, his ambition is to adjust his personal knowledge to the
and expected, contingency and preparedness, and so on. Motivation for the dancer on one hand

improvisation and regulation are the grammaticality (way and degree of structuredness) of the
is to be faithful to the traditional forms preserved in the collective memory - to be the same,
An improvised composition comes into being under the tension of different contrasting poles,
-------------------------------------

such as: otherness and sameness, freedom and regulation, openness and perfection, unexpected
" dance genres and features of their accompanying music. Analysis of these features is very determining the content of the "collective memory" in a local community or a specific region . 14
important for an understand ing of dance creation in eastern Europe. . Structural typology refers to the combination of the formal analysis and classification,

phrases/sections of manifold content are kept together by the constant length and similar
method (such as a beginning formula or closing motif) . . . . It is the application of some basic
compositional rules which prevent the crowded, varied composition from falling apart. Dance
and interesting forms. ,So they strive to captivate and keep the attention of the onlookers. They
Male dancers' ambition is to build up their dances in a diverse way by combining always new

try to avoid monotony caused by repetition. Recurrence is used on ly as a special form-building

is always preceded by a long practice, and every instantaneous improvisation is assimilated to the
certain individual and common regularities. The inclination and phenomenon of improvisation
instinctive anarchy and accidental eventuality. Improvisation always occurs according to
Improvisation means only apparently - for the first sight and for the superficial observer -
Dance and music relationship - belongs to the problems of the coordinative or sub-ordina- which aims to discover the deeper relations among the single variants of the dances, and the dis-

series of more or less different variations of performances affected earlier [Martin 1980a: 394].
tive relations between the constituent elements of the "dance" as a complex, multimedial phe- closure of the regional differences and connections of the various historical genres. IS The
nomena. It seems to be evident, that all the possible components (music, poetry, drama, play) greatest achievements in this field in Hungary are Martin's monograph on Hungarian round
and occasionally material requirements (props, costumes, and so on) may play a decisive role in dances and their European relations; Pesovar's book about the historical layers of Hungarian
structuring the composition. In East-European traditional dances, dominance of the components traditional dances, mainly couple dances; and their common summary about the round verbunk
change depending on the genre. In the majority of the participatory dances we may witness the dances examined in a broader geographical framework (Martin 1979a; Pesovar 1997; Lanyi,
dominance of dance movement and music. (Other components seem to be of less importance.) Martin, Pesovar 1983). Martin's articles about the East-European relations of Hungarian dance
Dance and music (and text if it exists) proceed in the same kind of metro-rhythmic and tempo types and dance cultures are exemplary for use of the results of structural analysis in classifica-

important for an understand ing of dance creation in eastern Europe. .

framework. Their connection is an interplay between their structural elements in this framework, tion of dances and whole regional dance cultures (Martin 1965a; 1968; 1979b). His aim was to
where both music and dance can prevail and can give impulses to the other. In the case of com- reveal the form repertory and the "grammar" of an integrated group of variants so that we should
plex musical accompaniment (melodic and rhythmic together), the rhythmic accompaniment has understand the characteristic features of the local dance cultures. To explore the relationships of

the musical principle may mislead the analyst (Szentpal 1981).

the decisive role (Martin-Pesovar 1961; Martin 1965b; 1980a:399-404; FelfOldi 2001). In structural types in East-European improvisative dances, Martin suggested a triple analytical
LAszL6 FELFOLDI

Martin's methodology these musical features have serious consequences in the structuralanalysis framework: the life work of individual dancers, a regional dance-form repertory, and the
and classification of dance. He suggests taking music into consideration in the segmentation, framework of the main historical dance types/genres . The careful examination of single motifs

for increasing the effect on the onlookers. He writes:

identification and typology of the structural kinetic elements and stratification of historical layers (and other structural elements) in all the three frameworks can help us avoid great mistakes in
[Martin 1977a: 286-287; 1977b (in German)] . However, Maria Szentpal found that exaggerating typology, he emphasized (Martin 1964:231 ; 1980a:395). Construction of dance indices (cata-
the musical principle may mislead the analyst (Szentpal 1981). logues or dictionaries) of a well-defined corpus of dance variants (and their structural elements)
Individuality principle constitutes a basic component of structural analysis in Hungary.13 It is one of the basic tools for structural tyPOlogy.16 The complex of the systematically prepared
comprises not only the analysis of the improvisations of single dancing individuals as products of dance-catalogues can create a firm basis for cross-cultural comparative dance research.
their dancing activity, but also the examination of the lifelong process of dance creation, their Conclusion
role in their dancing community, their relation to the collective knowledge shared by the mem- As we have already remarked, the Hungarian analytical method is not a finally defined,
bers of the community, their relation to the single improvisations and so on. The individuality closed system. It is an open, variable concept, gradually developing, and possible to be
approach helps the researcher to find the connection between an individual's creativity and the improved. It does not cover all the fields of structuralist idea of linguistics; it is focused mainly
collective knowledge of the community. In addition, it makes it possible to follow the structural, on the morphology, phonology and syntax of a well-defined kinetic language. One of its main
compositional changes during the life-career of individual dancers (Felfoldi 1999,2001, 2005a). features is an emphasis on the important characteristics of the object of research; that means
Regular observation and documentation of the improvisations help ethnochoreologists in opening East-European individual, improvisative folk dance. This focus orients the researcher in
the personal techniques of meaning imputation to the various structural elements at the moment selecting the adequate approaches and in defining proper methodology.
of the "performance" for a given dance event. Martin's article about the structural characteristic Martin's main achievements in this field are: the development of a widely applicable motif
features of the Transylvanian male dances in 1977 gives a splendid survey of the effective tools theory, which has a basic role in the whole structural concept, determination of the concepts of
for increasing the effect on the onlookers. He writes: improvisation-regulation, creativity, and the introduction of the individuality-principle to dance
Male dancers' ambition is to build up their dances in a diverse way by combining always new analysis. (See Martin 1955, 1964; Karsai-Martin 1989 posthumous.) Pesovar's contribution is
and interesting forms. ,So they strive to captivate and keep the attention of the onlookers. They focused on major structural elements and typology. (See PeS,.ovar 1961, 1963, 1965, 1976, 1997.)
162

try to avoid monotony caused by repetition. Recurrence is used on ly as a special form-building The present generation of Hungarian researchers (FelfOldi, Laszl6; FUgedi, Janos; Karacsony,
method (such as a beginning formula or closing motif) . . . . It is the application of some basic Zoltan; Konczei, Cs ilia; Patfy, Gyula and their students) go in different directions. On the one
compositional rules which prevent the crowded, varied composition from falling apart. Dance
hand they endeavour to complete the comprehensive source publication plans made by Martin
phrases/sections of manifold content are kept together by the constant length and similar
"
:i
I:
 publication of dance folklore data]. Zenetudomanyi dolgo:atok:243-258. Budapes

1989 "Motivumepitkezesi elvek a hetfalusi borica tancban" [Principles governing

European Folklore Institute, Institute for Musicology of the Hungarian Academy o
monographs on two dancing individuals from Transylvania contain the catalo

1993 "Otletek a tane textol6giai elemzesehez" [Ideas for the textologicalanalysis

dance]. Tanctudomanyi Tanulmanyok 1988-1989:145-169. Budapest: Magyar T
1960 "Az egyenisekutatas perspektivai" [perspectives on the research of individu

1947 Magyar nepi tancok I [Hungarian folk dances]. Budapest: Budapest Szeke
In 1964 he published the motif catalogue on the whole traditional dance reper

theory and methods of dancing individuality research. Historical survey]. Zenetud

1988 Generative grammar: its basis, development, and prospects. Studies in En

2005 "Tancszerkezet es motivumhasznalat Jakab J6zsefpontoz6iban [Dance stru

1998 "Computer applications in the field of danee notation." Studia Musicologic
1999 "A tancos egyenisegkutatas elveinek es m6dszereinek kialakulasa. Tortenet
1982 "Osszes versei" [Collected poems]. Budapest: Szepirodalmi Konyvkiad6.

Bibra Wharton, Laszl6 Felfoldi (editors), Dance and society:24-32. Budapest: Ak

tions documented throughout almost the whole of their lives (Martin 1955, 196
Structural approach in Hungarianfolk dance rese

2001 "Living human treasures in Hungary. Folk dance." Felfoldi Laszl6; Gomb
16. Martin's first attempt to prepare a motif index took place in 1955. It containe

1989 "Lorincreve tancelete es tancai" [fhe dances and dance life of LOrincrevel.
1990 "Egy bogartelki ferfi legenyes motivumkincse" [The motif-repertory of the
2005b "A tancfolklorisztikai adatok leirasanak es kiadasanak szabalyzata" [Plan a

Bogartelke Village]. Tanctudomanyi Tanulmanyok: 122-163. Budapest: Magyar

2005a "Considerations and problems ofperformer-centered folk dance research."
1995 "Narratives in society: a performer-centered study of narration." FF Com

J6zsef Jakab's ponto:6 dances]. Zenetudomanyi dolgo:atok 2004-2005:259-318.

Suomalainen Tiedeakatemia (Academia Scientiarum Fennica).

1939 Tance huculskie. Lwow: Nakl. Tow. Ludoznawczego.

Hungaricae 39(2-4):221-241. Budapest: Akademiai Kiad6.
Special issue. Kyoto, Japan: University of Foreign Studies.

10. Budapest: MTA Zenetudomanyi lntezet.

Budapest: MTA Zenetudomanyi Intezet.
Budapest: Magyar Neprajzi Tarsasag.

KARSAI, Zsigmond; MARTIN, Gyorgy

GONYEY, Sandor; LUGOSSY, Emma
Hungarian Academy of Sciences.

HARASHYMCZUK, W. Roman

Kolozsvar: Kortars Kiad6.

11
I 164 LAszL6 FELFOLDI

REFERENCES CITED
Structural approach in Hungarianfolk dance research 165

(Summary in English.)
I
I

KARACSONY, Zoltan
BERZSENYI, Daniel
and Pesovar. On the other hand they try to develop further the Hungarian analytical method in 16. Martin's first attempt to prepare a motif index took place in 1955. It contained the dances collected in Bag village.

CHOMSKY, Noam

FELFOLDI, Laszl6

KONCZEI, CsiJIa
some basic directions. (See Zolt{m Karacsony's analysis in Appendix B as an example of newer In 1964 he published the motif catalogue on the whole traditional dance repertory of the Sarkoz-Duna region. His

FOGEDI, Janos
DEGH, Linda
monographs on two dancing individuals from Transylvania contain the catalogue of their men's dance improvisa-
generation endeavors.) In the field of formal-structural analysis of multidimensional, multi-

Institute.
tions documented throughout almost the whole of their lives (Martin 1955, 1964,2004; Karsai-Martin 1989).

Intezet.
Intezet.
medial "dance-texts," they aim at the examination of "grammaticality" (measure of freedom
and regulatedness) by means of computer-aided comparative research and construction of dance-
catalogues. In the field of the contextual, situational analysis they lay more emphasis on
REFERENCES CITED
"addressivity," "dialogicality" of the different dance genres, which gives them deeper insight
into the ways of dance creation in a community. BERZSENYI, Daniel
1982 "Osszes versei" [Collected poems]. Budapest: Szepirodalmi Konyvkiad6.
The main lesson to keep in mind is that formal-structural analysis is not an end in itself. It is
CHOMSKY, Noam
a research tool providing a firm basis for ethnochoreologists to go in several different directions:
1988 Generative grammar: its basis, development, and prospects. Studies in English linguistics and literature.
synchronic and diachronic; syntactic, semantic, and pragmatic; textual and contextual. Special issue. Kyoto, Japan: University of Foreign Studies.

9. Variation theory worked out by Martin and Pesovar with roots in the Hungarian and international folklore theory of

types and 18 motif families. Karsai's most favourite motif family is the fifth one, which contains 10 motif types of
nificant variants, the majority only 20-25, and some only one. In the significant variants, Martin defined 108 motif
"addressivity," "dialogicality" of the different dance genres, which gives them deeper insight

3. In addition we rely on Elizabeth Rearick's film-documentation of Hungarian dances and games published in New

4. A similar method was followed by Ukrainian researcher W.R. Harashymczuk in his Tance huculskie (Lwow, 1939),

Budapest school, represented by the names of Gyula Ortutay and Linda Degh. It had significant impact on the
6. 1958 is the year of Martin's diploma research. This study, Matyas Istvan Mundruc. Egy kalotas:egi tancos

(1968), Levi-Strauss's structural analysis of myths (1963) and Matti Kuusi's structural typology of proverbs
some basic directions. (See Zolt{m Karacsony's analysis in Appendix B as an example of newer

1930s, and the first examples of Labanotation for folk-dance analysis in scientific publications appeared in 1947.
Today the Folk Dance Archive of the Hungarian Academy of Sciences has about 20 thousand single dance

egyenisegvi:sgalata [Istv{1Il Matyas Mundruc. Research of an individual dancer from Kalotaszeg region] was
2. The first film documents of ind ividual dances in Hungary were made in the 1920s, regular filming began in the

14. The notion of "dance knowledge" is closer to Chomsky's "competence" conception, than to Saussure's "Iangue"
community. It is worth mentioning the results of the Hungarian performer-centred folk-tale research, the so called
and Pesovar. On the other hand they try to develop further the Hungarian analytical method in

The main lesson to keep in mind is that formal-structural analysis is not an end in itself. It is

identified 1571 single motif variants, of which about 300 were significant. Few of them have more than lOO insig-

I3. It is a widely used approach in social and cultural sciences to reveal the role of individual members of a local
generation endeavors.) In the field of formal-structural analysis of multidimensional, multi-

10. In Martin's system the "core" is the most significant and meaningful element, which has the minimum necessary
5. In the former socialist countries in Central and East Europe we find similar tendencies of supporting staged folk

8. Remembering Saussure's parole-langue and Chomsky's competence-performance conceptions helps us to understand

medial "dance-texts," they aim at the examination of "grammaticality" (measure of freedom

number of phases, and it cannot be divided further into elements without hurting the integrity of the core [Martin
catalogues. In the field of the contextual, situational analysis they lay more emphasis on

11. In Zsigmond Karsai's 62 single dance processes (of about 3000 musical bars) recorded from 1941 till 1981, Martin
and regulatedness) by means of computer-aided comparative research and construction of dance-

a research tool providing a firm basis for ethnochoreologists to go in several different directions:

15. The best-known examples of this kind of research in narrative folklore are V.I. Propp's morphology of folktales
DEGH, Linda

1. 1965 is the year that both Gyorgy Martin and Agoston Lanyi were received at the Hungarian Academy of Sciences.
1960 "Az egyenisekutatas perspektivai" [perspectives on the research of individuality]. Ethnographia 71:28-44.
ENDNOTES Budapest: Magyar Neprajzi Tarsasag.

development of the individuality,principle in Hungarian folk-dance research (Ortutay 1978; Degh 1960, 1995).
recordings on 400,000 meters of film, about 2000 items of dance notation and 12,000 dance-music notations.
1. 1965 is the year that both Gyorgy Martin and Agoston Lanyi were received at the Hungarian Academy of Sciences. 1995 "Narratives in society: a performer-centered study of narration." FF Communcations 255. Helsinki:
Suomalainen Tiedeakatemia (Academia Scientiarum Fennica).
2. The first film documents of ind ividual dances in Hungary were made in the 1920s, regular filming began in the

synchronic and diachronic; syntactic, semantic, and pragmatic; textual and contextual.
1930s, and the first examples of Labanotation for folk-dance analysis in scientific publications appeared in 1947. FELFOLDI, Laszl6

published posthumously in 2004 by the Hungarian Academy of Sciences Institute for Musicology.
Today the Folk Dance Archive of the Hungarian Academy of Sciences has about 20 thousand single dance 1999 "A tancos egyenisegkutatas elveinek es m6dszereinek kialakulasa. Torteneti attekintes" [Development of the
recordings on 400,000 meters of film, about 2000 items of dance notation and 12,000 dance-music notations. theory and methods of dancing individuality research. Historical survey]. Zenetudomanyi dolgo:atok:139-159.

7. See Anca Giurchescu's and Eva Kroschlova's comprehensive paper, chapter 2 in this volume.
Budapest: MTA Zenetudomanyi Intezet.
3. In addition we rely on Elizabeth Rearick's film-documentation of Hungarian dances and games published in New
York in 1939. 2001 "Living human treasures in Hungary. Folk dance." Felfoldi Laszl6; Gombos Andras (editors), Budapest:
European Folklore Institute, Institute for Musicology of the Hungarian Academy of Sciences.

12. See Martin and Pesovar's article on structural analysis of Hungarian folk dance, 1961.
4. A similar method was followed by Ukrainian researcher W.R. Harashymczuk in his Tance huculskie (Lwow, 1939),
but Molnar did not rely on him or any other sources. 2005a "Considerations and problems ofperformer-centered folk dance research." Elsie Ivancich Dunin, Anne von

dance and dance folkloristics at the expense of modem dance after World War 11.
Bibra Wharton, Laszl6 Felfoldi (editors), Dance and society:24-32. Budapest: Akademiai Kiad6; European Folklore
5. In the former socialist countries in Central and East Europe we find similar tendencies of supporting staged folk
Institute.
dance and dance folkloristics at the expense of modem dance after World War 11.
2005b "A tancfolklorisztikai adatok leirasanak es kiadasanak szabalyzata" [Plan and guide to the inventory and
6. 1958 is the year of Martin's diploma research. This study, Matyas Istvan Mundruc. Egy kalotas:egi tancos
publication of dance folklore data]. Zenetudomanyi dolgo:atok:243-258. Budapest: Institute for Musicology of the
egyenisegvi:sgalata [Istv{1Il Matyas Mundruc. Research of an individual dancer from Kalotaszeg region] was
LAszL6 FELFOLDI

Hungarian Academy of Sciences.

published posthumously in 2004 by the Hungarian Academy of Sciences Institute for Musicology.
FOGEDI, Janos
7. See Anca Giurchescu's and Eva Kroschlova's comprehensive paper, chapter 2 in this volume.
1998 "Computer applications in the field of danee notation." Studia Musicologica Academiae Scientiarum
8. Remembering Saussure's parole-langue and Chomsky's competence-performance conceptions helps us to understand Hungaricae 39(2-4):221-241. Budapest: Akademiai Kiad6.
into the ways of dance creation in a community.

these analytical problems.

2005 "Tancszerkezet es motivumhasznalat Jakab J6zsefpontoz6iban [Dance structure and application of motifs in

but Molnar did not rely on him or any other sources.

9. Variation theory worked out by Martin and Pesovar with roots in the Hungarian and international folklore theory of J6zsef Jakab's ponto:6 dances]. Zenetudomanyi dolgo:atok 2004-2005:259-318. Budapest: MTA Zenetudomanyi
the 1960s (see Ortutay 1959). Intezet.
10. In Martin's system the "core" is the most significant and meaningful element, which has the minimum necessary GONYEY, Sandor; LUGOSSY, Emma
number of phases, and it cannot be divided further into elements without hurting the integrity of the core [Martin 1947 Magyar nepi tancok I [Hungarian folk dances]. Budapest: Budapest Szekesfovarosi lrodami es Muveszeti

285 single motifs [Karsai-Martin 1989].

1964:394; 2004:258-259]. Intezet.
11. In Zsigmond Karsai's 62 single dance processes (of about 3000 musical bars) recorded from 1941 till 1981, Martin HARASHYMCZUK, W. Roman
identified 1571 single motif variants, of which about 300 were significant. Few of them have more than lOO insig- 1939 Tance huculskie. Lwow: Nakl. Tow. Ludoznawczego.
nificant variants, the majority only 20-25, and some only one. In the significant variants, Martin defined 108 motif

the 1960s (see Ortutay 1959).

KARACSONY, Zoltan
types and 18 motif families. Karsai's most favourite motif family is the fifth one, which contains 10 motif types of

1964:394; 2004:258-259].
these analytical problems.
285 single motifs [Karsai-Martin 1989]. 1990 "Egy bogartelki ferfi legenyes motivumkincse" [The motif-repertory of the Lads' dance ofa man from
Bogartelke Village]. Tanctudomanyi Tanulmanyok: 122-163. Budapest: Magyar Tancmiiveszek Szovetsege.

(Lauhakangas 2001).
12. See Martin and Pesovar's article on structural analysis of Hungarian folk dance, 1961.
KARSAI, Zsigmond; MARTIN, Gyorgy
I3. It is a widely used approach in social and cultural sciences to reveal the role of individual members of a local 1989 "Lorincreve tancelete es tancai" [fhe dances and dance life of LOrincrevel. Miihelytanulmanyok tortenetehe:
York in 1939.

community. It is worth mentioning the results of the Hungarian performer-centred folk-tale research, the so called 10. Budapest: MTA Zenetudomanyi lntezet.
Budapest school, represented by the names of Gyula Ortutay and Linda Degh. It had significant impact on the
KONCZEI, CsiJIa
ENDNOTES

development of the individuality,principle in Hungarian folk-dance research (Ortutay 1978; Degh 1960, 1995).
1989 "Motivumepitkezesi elvek a hetfalusi borica tancban" [Principles governing the motif structuring in a Borica

notion.
14. The notion of "dance knowledge" is closer to Chomsky's "competence" conception, than to Saussure's "Iangue" dance]. Tanctudomanyi Tanulmanyok 1988-1989:145-169. Budapest: Magyar Tancmuveszek Szovetsege.
notion. (Summary in English.)
164

15. The best-known examples of this kind of research in narrative folklore are V.I. Propp's morphology of folktales 1993 "Otletek a tane textol6giai elemzesehez" [Ideas for the textologicalanalysis of dance]. Korunk 8: 47-55.
(1968), Levi-Strauss's structural analysis of myths (1963) and Matti Kuusi's structural typology of proverbs Kolozsvar: Kortars Kiad6.
(Lauhakangas 2001).
I
I
I
11
 1939 "Dances of the Hungarians." New York: Bureau of Publications, Teachers Col

Tanulmanyok 1980:59-244. Budapest: Magyar Tancmiiveszek Szovetsege. [Summar

reziime/French resume: "Une analyse morphologique des Gaillardes Fran9aises de Th.

1997 A magyar paros tancok [Hungarian couple dances]. Budapest: Planetas Kiado.
1989 "Negy vajdakamarasi siirii legenyes" [Four Siirii Legenyes, quick male solo dan

1965 "Les Types de la danse folqlorique hongroise" [Types of Hungarian folk dances

1969 "Modellalas a folklorisztikaban" [Model building in folkloristics). Ethnograph

1978 Fedics Mihcily mesel [MiMly Fedich tells tales]. Second edition. Budapest: Ak
1947 Magyar tanchagyomanyok [Hungarian dance tradition]. Budapest: Magyar Ele

1963 "Arbeau francia gaillardjainak formai elemzese" [Formal analysis of French ga

1959 "Varians, invarians, affinitas" [Variant, invariant, affinity]. MTA 1. Os:taly Ko:

1981 "A magyar neptancelernzes nehany problemaja" [Some problems of Hungarian

"Cours de linguistique generale" edition critique preparee par Tullio d
2003 "Tanchagyomanyunk tOrteneti retegei. A magyar neptanc tOrtenete" [Historical

1958 "Versuch einer Formanalyse der ungarischen Volkstiinze." Acta Ethnographic

Structural approach in Hungarianfolk dance research

1976 "Three round verbunks." Roderyk Lange (edtor), Dance studies 1: 47-52. Jers
1963 "Determination of motif types in dance folklore." Acta Ethnographia 12:295-3

Tanctudomanyi Tanulmanyok 1963-1964:79-148. Budapest: Magyar Tancmiiveszek

1?61 "A simonfai verbunkok formai elemezese" [Morphological analysis ofverbunk

1963 "Der heutige Stand der ungarischen Volkstanzforschung." Journal of the Inter
Vajdakamaras]. Ethnographia 1987 2-4: 304-349. Budapest: Akademiai Kiado (Su
1961 "A structural analysis of the Hungarian folk dance. A methodological sketch."

History of Hungarian traditional dance]. S=ombathely: Berzsenyi Daniel Foiskola.

1968 Morphology of the folk tale. Austin, Texas: University of Texas Press

1924 A magyarsag tancai [Dances of Hungarians]. Budapest: Studium.

Academiae Scientiarum Hungaricae 7(1-4). Budapest: Akademiai Kiado.
53-57. London: International Folk Music Council.
Ertes(to 42: 51-85. Budapest: Neprajzi Muzeum.
Budapest: Hungarian Academy of Sciences.

Kingdom: Centre of Dance Studies.

MARTIN, Gyorgy; PESovAR, Erno
Structural approach in Hungarianfolk dance research 167
166 LAszL6 FELFOLD/

VOIGT, Vilmos (compiler)

SAUSSURE, Ferdinand de
RETHEI, Prikkel Marian
Academy of Sciences.
MARTIN, Gyorgy; PESovAR, Erno

REARICK, El izabeth C.
KORTI , Lilszlo 1961 "A structural analysis of the Hungarian folk dance. A methodological sketch." Acta Ethnographica 10:1-40.

Akademiai Kiado.
Akademiai Kiado.

Academia Kiado.
1980 "Hungarian dance structures: a linguistic approach." Journalfor the anthropological study of human movement

PROPP, Vladimir I.
Budapest: Hungarian Academy of Sciences.

SZENTPAL, Maria
ORTUTA Y, Gyula

SZENTPAL,Olga
1 (I): 45-63. New York: Department of Dance, New York University.

MOLNAR, Istvan

PESovAR, Erno

1972 (1916)
1963 "Determination of motif types in dance folklore." Acta Ethnographia 12:295-331. Budapest: Hungarian

PALFY, Gyula
KURZWEIL, Edith Academy of Sciences.
1980 The age ofstructuralism: Levi-Strauss to Foucault. New York: Columbia University Press.

1940.)
MOLNAR, Istvan
LAJTHA, Lilszlo; GONYEY, Sandor 1947 Magyar tanchagyomanyok [Hungarian dance tradition]. Budapest: Magyar Elet Konyvkiado. (435 pages.)
1937 "Hnc" [Dance]. Magyarsag Nepra}:a [Ethnography of Hungarians] 4: 76-131. Budapest: Kiralyi Magyar
Egyetemi Nyomda. ORTUTA Y, Gyula
1959 "Varians, invarians, affinitas" [Variant, invariant, affinity]. MTA 1. Os:taly Ko:lemenyei 9: 195-238. Budapest:
LANYI, Agoston; MARTIN, Gyorgy; PESovAR, Emo Akademiai Kiado.
1983 A korverbunk tOrtenete, tfpusai es rokonsaga [The history, types and relations of the round Verbunk]. Budapest:
1978 Fedics Mihcily mesel [MiMly Fedich tells tales]. Second edition. Budapest: Akademiai Kiado. (First edition,
Zenemiikiad6.
1940.)
LAUHAKANGAS,Outi
2001 "The Matti Kuusi international type system of proverbs." FF communications 275. Helsinki: Suomalainen PALFY, Gyula
Tiedeakatemia (Academia Scientiarum Fennica). 1989 "Negy vajdakamarasi siirii legenyes" [Four Siirii Legenyes, quick male solo dances ofthe village

1980b "The traditional dance cycle - as the largest unit offolkdancing." Hery Sjoberg (editor), Der altere Paartan: in

2004 Matyas 1stvan Mundruc. Egy kalotas:egi tancos egyenisegvi:sgalala [istvan Matyas Mundruc. Research of an
1960 "A magyar nepi tancok mozgaselemei es motivikaja" [Movement elements and repertory of motifs of Hungarian
Vajdakamaras]. Ethnographia 1987 2-4: 304-349. Budapest: Akademiai Kiado (Summary in English.)

1965b "Considerations sur I'analyse des relations entre danse et la musique de danse populaires." Studia Musicologica
1983 A korverbunk tOrtenete, tfpusai es rokonsaga [The history, types and relations of the round Verbunk]. Budapest:
1980 "Hungarian dance structures: a linguistic approach." Journalfor the anthropological study of human movement

1977c "A tancos es a zene. Tanczenei terminologia Kalotaszegen" [The dancer and the music. Terminology of dance
1956 "A tancok rendje" [Repertory of dances). Kiss Lajos (editor), Magyar Nep:ene Tara 31B. Lakodalom:417-660.

1968 "Performing style in the dances of the Carpathian basin." Journal of the International Folk Music Council 20:

individual dancer from Kalotaszeg region]. Budapest: Planetas Kiado; MT A Zenetudomanyi Intezet. (Posthumous
1979b A magyar kortimc es europai rokonsaga [The Hungarian round dance and its European relations]. Budapest:
LEVI-STRAUSS, Claude

1977b "Struktur eines improvisativen Miinnertanzes." Studia Musicologica 19:39-62. Budapest. Akademiai Kiado.
1954 "A kozolt Ilincok koreognifiai vizsgalata" [Choreographic analysis of the published dances). 39 verbunktanc:
PESovAR, Erno

systematization the motifs. The set of motifs in the dances of Sarkoz and the region along the Danube]. Budapest:
1955 "Bag tancai es tancelete" [The dances and dance life of Bag]. NeptancosokKiskonyvtara 16-18: Budapest:
1963 Structural anthropology. Claire Jacobson (Translator from French.) London: Alien Lane.

2001 "The Matti Kuusi international type system of proverbs." FF communications 275. Helsinki: Suomalainen
1937 "Hnc" [Dance]. Magyarsag Nepra}:a [Ethnography of Hungarians] 4: 76-131. Budapest: Kiralyi Magyar

1977a "Egy improvizativ ferfitanc strukruraja" [The structure of an improvisatory lad's dance)." Tanctudomanyi
1?61 "A simonfai verbunkok formai elemezese" [Morphological analysis ofverbunks in Simonfa village]. Nepra}:i

folk dances]. Tanctudomanyi Tanulmimyok 1959-1960: 167-210. Budapest: Magyar Hncmiiveszek Szovetege.

1965a "East-European relations of Hungarian dance types." Ortutay Gyula; Bodrogi Tibor (editors), Europa et

1980a "Improvisation and regulation in Hungarian folk dances." Acta Ethnographica Hungarica 29:391-425.
1952 "A mozdulatmegorokites modjai" [Methods of movement notation]. Tancmiiveszet. Budapest: Magyar
LUGOSSY, Emma Ertes(to 42: 51-85. Budapest: Neprajzi Muzeum.

Hungaria. Congressus Ethnographicus in Hungaria:469-515. Budapest: Hungarian Academy of Sciences.

1952 "A mozdulatmegorokites modjai" [Methods of movement notation]. Tancmiiveszet. Budapest: Magyar

1979a "Hnc" [Dancing]. Ortutay Gyula (editor), A Magyar Folklor:477-539. Budapest: Tankonyvkiado.
1964 Motivumkutatas, motivumrends:ere:es. A sarko:i-Duna menti tancok motivumkincse [Research and
1963 "Der heutige Stand der ungarischen Volkstanzforschung." Journal of the International Folk Music Council 15:
Hncmiiveszek Szovetege. (279 pages.)

music in Kalotaszeg region]. Nepi Kultura-Nepi Tarsadalom 9:357-389. Budapest: Akademiai Kiado.
53-57. London: International Folk Music Council.
1954 "A kozolt Ilincok koreognifiai vizsgalata" [Choreographic analysis of the published dances). 39 verbunktanc:
1965 "Les Types de la danse folqlorique hongroise" [Types of Hungarian folk dances]. Studia Musicologica
1980 The age ofstructuralism: Levi-Strauss to Foucault. New York: Columbia University Press.
19-23. Budapest: Zenemiikiad6.

1963 Structural anthropology. Claire Jacobson (Translator from French.) London: Alien Lane.
Academiae Scientiarum Hungaricae 7(1-4). Budapest: Akademiai Kiado.
1956 "A tancok rendje" [Repertory of dances). Kiss Lajos (editor), Magyar Nep:ene Tara 31B. Lakodalom:417-660.
1976 "Three round verbunks." Roderyk Lange (edtor), Dance studies 1: 47-52. Jersey, Channel Islands, United
Budapest: Akademiai Kiado.
Kingdom: Centre of Dance Studies.
1960 "A magyar nepi tancok mozgaselemei es motivikaja" [Movement elements and repertory of motifs of Hungarian

Europa. Konferen: bericht:46-66. Stockholm: Arkivet For Folkig Dans Dansmuseet.

folk dances]. Tanctudomanyi Tanulmimyok 1959-1960: 167-210. Budapest: Magyar Hncmiiveszek Szovetege. 1997 A magyar paros tancok [Hungarian couple dances]. Budapest: Planetas Kiado.

Tanulmanyok 1976-1977:264-300. Budapest: MagyarHncmiiveszek Szovetsege.

(French summary.) 2003 "Tanchagyomanyunk tOrteneti retegei. A magyar neptanc tOrtenete" [Historical strata of our dance tradition.
History of Hungarian traditional dance]. S=ombathely: Berzsenyi Daniel Foiskola.
MARTIN, Gyorgy
1955 "Bag tancai es tancelete" [The dances and dance life of Bag]. NeptancosokKiskonyvtara 16-18: Budapest: PROPP, Vladimir I.
MiiveltNep 1968 Morphology of the folk tale. Austin, Texas: University of Texas Press

Nepmiivelesi Intezet. (Motif-catalog of62 pages by Lilnyi, Agoston.)

1 (I): 45-63. New York: Department of Dance, New York University.

1964 Motivumkutatas, motivumrends:ere:es. A sarko:i-Duna menti tancok motivumkincse [Research and

LAszL6 FELFOLD/

REARICK, El izabeth C.
systematization the motifs. The set of motifs in the dances of Sarkoz and the region along the Danube]. Budapest: 1939 "Dances of the Hungarians." New York: Bureau of Publications, Teachers College, Columbia University.
Nepmiivelesi Intezet. (Motif-catalog of62 pages by Lilnyi, Agoston.) RETHEI, Prikkel Marian
1965a "East-European relations of Hungarian dance types." Ortutay Gyula; Bodrogi Tibor (editors), Europa et 1924 A magyarsag tancai [Dances of Hungarians]. Budapest: Studium.
Hungaria. Congressus Ethnographicus in Hungaria:469-515. Budapest: Hungarian Academy of Sciences.
SAUSSURE, Ferdinand de

59-64. Cambridge: International Folk Music Council.

1965b "Considerations sur I'analyse des relations entre danse et la musique de danse populaires." Studia Musicologica 1972 (1916) "Cours de linguistique generale" edition critique preparee par Tullio de mauro. Paris: Payot.
7: 315-338. Budapest: Akademiai Kiado. SZENTPAL, Maria
LANYI, Agoston; MARTIN, Gyorgy; PESovAR, Emo

Tiedeakatemia (Academia Scientiarum Fennica).

1968 "Performing style in the dances of the Carpathian basin." Journal of the International Folk Music Council 20: 1981 "A magyar neptancelernzes nehany problemaja" [Some problems of Hungarian dance analysis]. Tanctudomanyi

Budapest: Hungarian Academy of Sciences.

59-64. Cambridge: International Folk Music Council. Tanulmanyok 1980:59-244. Budapest: Magyar Tancmiiveszek Szovetsege. [Summary in English.]

7: 315-338. Budapest: Akademiai Kiado.

1977a "Egy improvizativ ferfitanc strukruraja" [The structure of an improvisatory lad's dance)." Tanctudomanyi SZENTPAL,Olga
Hncmiiveszek Szovetege. (279 pages.)

Tanulmanyok 1976-1977:264-300. Budapest: MagyarHncmiiveszek Szovetsege. 1958 "Versuch einer Formanalyse der ungarischen Volkstiinze." Acta Ethnographica 7:257-336. Budapest:
1977b "Struktur eines improvisativen Miinnertanzes." Studia Musicologica 19:39-62. Budapest. Akademiai Kiado. Akademiai Kiado.
19-23. Budapest: Zenemiikiad6.
LAJTHA, Lilszlo; GONYEY, Sandor

1977c "A tancos es a zene. Tanczenei terminologia Kalotaszegen" [The dancer and the music. Terminology of dance 1963 "Arbeau francia gaillardjainak formai elemzese" [Formal analysis of French galliards by Arbeau].
Budapest: Akademiai Kiado.

music in Kalotaszeg region]. Nepi Kultura-Nepi Tarsadalom 9:357-389. Budapest: Akademiai Kiado. Tanctudomanyi Tanulmanyok 1963-1964:79-148. Budapest: Magyar Tancmiiveszek Szovetsege. (Francia
reziime/French resume: "Une analyse morphologique des Gaillardes Fran9aises de Th. Arbeau," pages 146-148.)
1979a "Hnc" [Dancing]. Ortutay Gyula (editor), A Magyar Folklor:477-539. Budapest: Tankonyvkiado.
VOIGT, Vilmos (compiler)
LEVI-STRAUSS, Claude

1979b A magyar kortimc es europai rokonsaga [The Hungarian round dance and its European relations]. Budapest:

Akademiai Kiado.
(French summary.)
LAUHAKANGAS,Outi
Egyetemi Nyomda.

1969 "Modellalas a folklorisztikaban" [Model building in folkloristics). Ethnography 3:347-430. Budapest:

Akademiai Kiado. Academia Kiado.
MARTIN, Gyorgy
LUGOSSY, Emma
KURZWEIL, Edith

publication.)
Zenemiikiad6.

1980a "Improvisation and regulation in Hungarian folk dances." Acta Ethnographica Hungarica 29:391-425.
MiiveltNep
KORTI , Lilszlo

Budapest: Hungarian Academy of Sciences.

1980b "The traditional dance cycle - as the largest unit offolkdancing." Hery Sjoberg (editor), Der altere Paartan: in
Europa. Konferen: bericht:46-66. Stockholm: Arkivet For Folkig Dans Dansmuseet.
166

2004 Matyas 1stvan Mundruc. Egy kalotas:egi tancos egyenisegvi:sgalala [istvan Matyas Mundruc. Research of an
individual dancer from Kalotaszeg region]. Budapest: Planetas Kiado; MT A Zenetudomanyi Intezet. (Posthumous
publication.)
 of dance. Directors and students of schools of orchestics who we

theoretically founded and of high quality. The negative side was, that
active ethnochoreologist and developed her own analytic method. He
period" these schools of art were dissolved, so experts could make us

knowledge of the dance material). There were also problems adjustin

F: Did this have any influence on the work of the Terminology Study

foundations of a way of thinking common at the roots, the atmospher

considers the study of motifs (development and variation of motifs) a
field of folk dance, historical dance, and gymnastics. That is how

and teacher of Laban Kinetography. A similar process could be obs

P: It had both positive and negative effects, as there were researchers

separate and equally important field besides structural research. It pr

it an exaggeration, though, that the structural formula of a dance proc

wood for the trees, and too many cooks spoil the broth. It has been p

for determining types and serves as a better basis for separating histo
who changed his past of expressionistic dance to ethnochoreolo

anyway joined the movement and research on folk dance. After 194

ended up in wanton speculations losing hold on reality (because of th

similar orientation as well. The positive side of it was the fact that th
Structural approach in Hungarianfolk dance researc

the approach we developed is more applicable to our own folk dance

containing compromises, provides a foundation for further analytic a
the basis of more regulated forms (like quadrilles) and free, improvis
Similarly, Emma Lugossy had an orientation to the art of dance and

also established her method of movement analysis, and played an im

overview from the smallest element to the largest units. In this way,
P: There was really a tendency like this. A good example of it is

comparative research. (See analysis of "Szanyi dus" [Dus dance fro

pages 166-167.) In spite of these problems, cooperation was really
reflected in the summarizing work providing the results (Syllabus).

essential for cooperation, and established connections.

Structural approach in Hungarianfolk dance research 169
LAszL6 FELFOLDl
168
P: There was really a tendency like this. A good example of it is Istvan Molnar's life career,

socialist countries.

Budapest, 2001.
Appendix A who changed his past of expressionistic dance to ethnochoreology during World War n.
Similarly, Emma Lugossy had an orientation to the art of dance and qualifications in the theory
Interview with Erno Pesovar about the work of the of dance. Directors and students of schools of orchestics who were receptive to folk dance
Study Group of the International Folk Music Council on Dance Terminology anyway joined the movement and research on folk dance. After 1948, in the so called "socialist
period" these schools of art were dissolved, so experts could make use of their knowledge in the
field of folk dance, historical dance, and gymnastics. That is how alga Szentpal became an
Transcription from audio recording by Laszl6 Felfoldi; English translation by Edit FelfOldi
active ethnochoreologist and developed her own analytic method. Her daughter, Maria Szentpal,
also established her method of movement analysis, and played an important role as a theoretician
and teacher of Laban Kinetography. A similar process could be observed in the other so-called
Ulszl6 Felfoldi (F): When did you get interested in research on this theme?
socialist countries.

experts in dance theory and music coming from modern dance began to deal with the theory of
F: Yes, it also might be surprising internationally that in Central and Eastern Europe, a team of
P: Yes, it was. Our analytic and categorizing method aroused great interest. The question of

such a way that the researchers with ethnographic qualifications (Gonyey, Lajtha, Morvay) were
Central and Eastern European countries, so it had been in the air. The research here developed in
such a study had already been raised in the course of the extensive data collection and research in
Ern6 Pesovar (P): We were motivated to study the formal aspect of folk dance by the experience

Kodaly. Here, Gyorgy Martin read a lecture about the types of Hungarian dance and I spoke
about the state of Hungarian dance research providing information about our method of analysis
P: In 1962, at the IFMC Congress in Gottwaldov, in which we could participate thanks to Zoltan
another one about the categorization of motifs came out in 1963. This way, we could join the
P: In the second half of the 1950s. Our paper on structural analysis was published in 1960, and
developed by folkloristics especially in the research on folk tales and ballads, such as element,
Finnish researcher, Ilmari Krohn's categorization of folk music. We also used the concepts
P: We considered to be ideal for us the useful methods developed by Bart6k on the basis of the
taken simultaneously with music. As a result, we have already drawn attention to the role of
cadence in the volume titled Somogyi tancok [Dances of Somogy County], and while teaching
F: Did this have any influence on the work of the Terminology Study Group?

Emma Lugossy's life work. Nevertheless, the most important conclusion was drawn from dances
used Istvan Molnar's life work as a basis, who published dance processes taken from film and a
collection of motifs drawing attention to certain characteristics of our improvised dances. We
were also motivated by the comprehensive work of Sandor Gonyei and Laszl6 Lajtha, as well as
gained from our predecessors in Hungary and during data collection. It became obvious that one
prerequisite of the categorization of dances is to work out the aspects of formal analysis. We
Ern6 Pesovar (P): We were motivated to study the formal aspect of folk dance by the experience
gained from our predecessors in Hungary and during data collection. It became obvious that one

original dance processes at teacher training courses, we pointed out their structural specificities.
prerequisite of the categorization of dances is to work out the aspects of formal analysis. We P: It had both positive and negative effects, as there were researchers within the committee with
used Istvan Molnar's life work as a basis, who published dance processes taken from film and a similar orientation as well. The positive side of it was the fact that the discussions were

Transcription from audio recording by Laszl6 Felfoldi; English translation by Edit FelfOldi
Study Group of the International Folk Music Council on Dance Terminology
collection of motifs drawing attention to certain characteristics of our improvised dances. We theoretically founded and of high quality. The negative side was, that occasionally, the disputes
were also motivated by the comprehensive work of Sandor Gonyei and Laszl6 Lajtha, as well as ended up in wanton speculations losing hold on reality (because of the lack of the profound
Emma Lugossy's life work. Nevertheless, the most important conclusion was drawn from dances knowledge of the dance material). There were also problems adjusting the conclusions drawn on

motif, and type as well as the results of the study of musical form and linguistics.
taken simultaneously with music. As a result, we have already drawn attention to the role of the basis of more regulated forms (like quadrilles) and free, improvised dances. Certainly, it is
cadence in the volume titled Somogyi tancok [Dances of Somogy County], and while teaching reflected in the summarizing work providing the results (Syllabus). The summary, though

Ulszl6 Felfoldi (F): When did you get interested in research on this theme?
original dance processes at teacher training courses, we pointed out their structural specificities. containing compromises, provides a foundation for further analytic and categorizing work. I find

F: What other experience did you use in constructing your conception?

international work on terminology with a fully developed conception.

F: What other experience did you use in constructing your conception? it an exaggeration, though, that the structural formula of a dance process should give a detailed
overview from the smallest element to the largest units. In this way, one is unable to see the
P: We considered to be ideal for us the useful methods developed by Bart6k on the basis of the
wood for the trees, and too many cooks spoil the broth. It has been proven in practical work that
Finnish researcher, Ilmari Krohn's categorization of folk music. We also used the concepts

F: So the study group was formed at this congress, wasn't it?

the approach we developed is more applicable to our own folk dance tradition. This approach
developed by folkloristics especially in the research on folk tales and ballads, such as element,
Interview with Erno Pesovar about the work of the

considers the study of motifs (development and variation of motifs) and categorization as a
motif, and type as well as the results of the study of musical form and linguistics.
LAszL6 FELFOLDl

separate and equally important field besides structural research. It provides a better starting point
F: When did you develop your methodology? for determining types and serves as a better basis for separating historical layers and for

followed by a new generation of experts in dance.

P: In the second half of the 1950s. Our paper on structural analysis was published in 1960, and comparative research. (See analysis of "Szanyi dus" [Dus dance from Szany Village] below on
pages 166-167.) In spite of these problems, cooperation was really useful. It created the

F: When did you develop your methodology?

F: When did you join the international team?

another one about the categorization of motifs came out in 1963. This way, we could join the
foundations of a way of thinking common at the roots, the atmosphere of collegiality, which is
international work on terminology with a fully developed conception.
essential for cooperation, and established connections.
F: When did you join the international team? Budapest, 2001.
P: In 1962, at the IFMC Congress in Gottwaldov, in which we could participate thanks to Zoltan
Kodaly. Here, Gyorgy Martin read a lecture about the types of Hungarian dance and I spoke

and categorization of motifs.

about the state of Hungarian dance research providing information about our method of analysis
and categorization of motifs.
F: So the study group was formed at this congress, wasn't it?

traditional dances.
P: Yes, it was. Our analytic and categorizing method aroused great interest. The question of
such a study had already been raised in the course of the extensive data collection and research in
Central and Eastern European countries, so it had been in the air. The research here developed in
Appendix A

such a way that the researchers with ethnographic qualifications (Gonyey, Lajtha, Morvay) were
followed by a new generation of experts in dance.
F: Yes, it also might be surprising internationally that in Central and Eastern Europe, a team of
168

experts in dance theory and music coming from modern dance began to deal with the theory of
traditional dances.
 .
1 ·p

•• :
Structural approach in Hungarianjolk dance research

W). m" ID"~ ,

!.!.

3
. '1- .
I .
Motif repertory

I
0-'-

2b
' '\

--~,-------

...
J=120

}.. .

!..!.
Structural approach in Hungarianjolk dance research 171
LAsZL6 FELFOwI

1
170 --~,-------

.
.

' .'
0
,
. 1-

20
10
Tune b.
Tune a.
Szanyi dus

•
!..!.
(DlL< dallce III Szany Village) Tune a.
Analysis of <1 single chmce process made by Erne; Peso".:ll'

I. A B

2b 1
I I

Ill. A IV. B
I~

Ta ~ 1' I' I' t, 1[' I' I f I 1 Ilia

b, b1 b, b
1
2
3 L.
I J=120

(1.,III.,VII.)

(IV.,VIII.)
A VI. B Tune b.

II
1
V.

(11. VI.)
• I~

2b

20
I

IV.)
I
I

L.
Tb l
20
I \' b
j
I' b, 11 ' b
B
,
I' I'
b
1
b
1
1 !I
2b I
I
3 20
I II

1' I' I' t, 1[' I' I f I 1 Ilia

ab--
B

above
3
I
Analysis of <1 single chmce process made by Erne; Peso".:ll'

a-
B
B

a bov
B

I
VII. A VIII.

I~
1.-:;.0.

2b
1 !I

Motif lines: -
VI.
3
(DlL< dallce III Szany Village)

Motif repertory

W). m" ID"~"

1
b
LAsZL6 FELFOwI

Szanyi dus

I' I'
I~

1.-:;.0.
, . 1 ·p

VIII.
1
2

b
IV.

Al B11Al B2IA~83IA:I. B4
. 1-
0
}.. . I . ,
1

,
1

b, 11 ' b
b

A I B-
-I B-
I

Ta 1 = A -\B-
!..!. • ' .' !..!. ... 0-'- . '1- . !.!. •• : .
(1.,III.,VII.)

Tb l = A-II B
Phrases: Ta 1 = A -\B- Motif lines: - a-
A

b,

I
I'
-I B-

Structure ofthe Dance:

ab-- IV.)

A
A
Ta! A 10
A

=
A

j
\' b

Tb, =
=
Tb l = A-II B a bov (11. VI.)

Ta!
•
b1

20
Tb, = A I B- above (IV.,VIII.) I

VII.
b,

I
V.
Ill.

Phrases:
I.

l
Ta ~

Tb

Structure ofthe Dance:

Al B11Al B2IA~83IA:I. B4
20 2b 3
170
 Uudetul Cluj) were danced by Istvan "Bajszos" [Moustached] V

Istvan "Moustached" Varga was 63 years old at the time of fi

personal variant. The dance samples from the village of Bogart
advanced motifs. The compounding either precedes or foll

musicians were from Kolozs. 8 Although Kolozs does not belo

improvisations were made so that his dance style and laws of danc

csardas]. He dances out the stamping, heel clicking, leg-hittin

Hungarian Academy as "no. MTA ft. 558.,,7 Dances, number
"Poncsa" Fekete and his son of Bogartelke. 4 The Budapest recor
The film was shot in Budapest, so Istvan Varga probably vi

secundum), the last dance, number 7, only showing the dancer's

visit to Hungary and Martin availed himself of the opportunity

crystallized renderin~ of all the dance components. This facet ra

of the Nadas region. 0 It can only be regretted that no other rec
different cores produces further motifs that are in kinship v

The film contains five legenyes dances. Three of them (ident

minutes. 6 It was inventoried in the Film Archives of the Folk

23). Istvan Varga performs a swineherd's dance-like dance I

shot by Gyorgy Martin and Jolan Borbely on Sunday, May 16,

beginning of A and C and at the end ofD he bowed towards the c

the structural-formal units of the dance (Martin 1977:357). Gyor

dancer performed the dances to the musical record ing inventor
early 1960s Gyorgy Martin had been collecting folk dances i

begin or end the dance. The Labanotation score at the end of A

Structural approach in Hungaria nfolk dance r

of the Arany lanos primary school in the 12th district (number 1,

dance]. Number 5 is an invariant in both Kalotaszeg and Transyl

stream in Kalotaszeg (K6sa 1979). Earlier, two films had be

motifs, certain figures were also called 'pont' or 'figura'. He

(mute) camera was used and Orwo negative film of 90 meter

region. It merely proves that lstvan Varga was responsive to inno

after performing a whole sequence of motifs that it was a 'po

dance processes since both the beginning and the end can be see
crosswise, to the music of the szapora. The uncertainty about
region ofNada smente , the Kolozs Gypsy bands served a relativel
In the following, the motif construction of a Kalotaszeg lege

Before turn ing to the motif stock of this legenyes, let us menti
As was mentioned above, Istvan Varga performed seven da
characterized by youthful virtuosity requiring great physical
1902. 2 He made his living by farming. He was born and lived

usually dance when they break the close hold of their partners in

dances almost face to face with the camera. 12 He was aware

The music was recorded by Gyorgy Martin at Nadasdar6c at a

dance, and the lack of recent ethnographic data suggest that this
legenyes. Numbe r 4 is a process of dance motifs danced to the
synchronous use of extension and compounding will bring

Certain motifs and motif sequences are also called 'pont'.

(A+A+B, A+B+B) (Martin 1977a:271).

name is mentioned in the film diary.

I1 172 LAszL6 FELFOW I
Structural approach in Hungaria nfolk dance research
173
APPEN DIXB different cores produces further motifs that are in kinship via their
shared elements. The
synchronous use of extension and compounding will bring about
further, structurally more

in the diary:
The motifs of the legenyes of a dancer from Bogart elke advanced motifs. The compounding either precedes or follows
the motif core repetition

Dance A.
Zoltan Karacsony (A+A+B, A+B+B) (Martin 1977a:271).
In the following, the motif construction of a Kalotaszeg legenyes is to
be presented through a
The wealth of motifs in legenyes dances in Kalotaszeg is emphasized personal variant. The dance samples from the village of Bogartelke
in all scientific (Martin (Bagara) in Kolozs county
1977a) and popular (Martin 1967:127; 1974:64) works devoted to the Uudetul Cluj) were danced by Istvan "Bajszos" [Moustached] Varga.
subject. When the initial He was probably born in
difficulties of motivisation (Molmir 1947:343-364; Lugossy 1954: 1902. 2 He made his living by farming. He was born and lived in Bogarte
108-114) were overcome lke, as no other place
(Martin-Pesovar 1961:216) and fundamental structural-morphologic name is mentioned in the film diary.
al examinations had been
conducted (Martin 1966; Kilrti 1980), the structural-morphological The film was shot in Budapest, so Istvan Varga probably visited Gyorgy
levels and characteristics of Martin during his
I '
the "legenyes" were identified. Accordingly, the concept of motif designa visit to Hungary and Martin availed himself of the opportunity to
tes the smallest organic stage a filming.3 From the
repeated and recurring formal unit of dancing that constitutes a separate early 1960s Gyorgy Martin had been collecting folk dances in the
entity in the dancer's villages along the Nadas

levels and characteristics of

108-114) were overcome
in all scientific (Martin
subject. When the initial

al examinations had been

facilitated the selection of

tes the smallest organic
entity in the dancer's
(Martin 1964:21; 1977a:

(Martin 1980a:48), the

1966:212). Used

the dance improvisations of

ordered separately for

their motif arsenals

to take the stage (Martin

of the dance lies in the

that the formal idiom,

to its motif richness. The

type of Kalotaszeg
are to be found in the

;; ; (Martin 1980b:407,
dancer always has favorite,

leled in the Hungarian

stream in Kalotaszeg (K6sa 1979). Earlier, two films had been shot

pont (Martin 1966:212) and

dancer to decide which - so

characteristics (Martin
mind that can be retrieved immediately and at any moment of time

process, constituting its

The place and function

are rhythmically and

about more complex motif

of motifs .(Martin

ition of the motifs of

ly large motifs (2 bars,

accented components of the

cores are the most typical
e (Martin 1964; Martin-

has two identical cores in a

and we get a two-

This procedure is the most

(Martin 1964:21; 1977a: of the dances of lanos
269). The following factors contributed to the evolution of a rich motivic "Poncsa" Fekete and his son of Bogartelke. 4 The Budapest recording
stock. was made in the courtyard
By its function, the legenyes is a spectacular, individual solo dance (Martin of the Arany lanos primary school in the 12th district (number 1, Merede
1966:212). Used k street).5 The film was
as the opening dance in the dance cycle up to the turn of the century shot by Gyorgy Martin and Jolan Borbely on Sunday, May 16, 1965.
(Martin 1980a:48), the An Adm ira Electric 16

1977a: 267).
legenyes shifted to the intervals in dance suites after World War 1 as pieces (mute) camera was used and Orwo negative film of 90 meters in
ordered separately for 6 length, lasting about eight
demonstration (Domby 1972:8; Martin 1970:23). This state of affairs minutes. It was inventoried in the Film Archives of the Folk Music
facilitated the selection of Research Group of the
outstanding dancers who were forced incessantly to enlarge and exercise Hungarian Academy as "no. MTA ft. 558.,,7 Dances, numbers 1-6

stock.
By its function, the legenyes is a spectacular, individual solo dance (Martin
their motif arsenals were shot at 24 (meter/
(Martin 1980b:416-417). Men of inferior dance skills no longer dared secundum), the last dance, number 7, only showing the dancer's legs

Another typical constructive device is the extension and compounding

was shot at 16 m/so The

outstanding dancers who were forced incessantly to enlarge and exercise

to take the stage (Martin

given motif type. When a one-core, one-measure dance motif is repeated

structural-morphological determinants of the dance type. The cadence
repeated and recurring formal unit of dancing that constitutes a separate

legenyes shifted to the intervals in dance suites after World War 1 as pieces
1970: 267). dancer performed the dances to the musical record ing inventoried

15).
"shift of motifs" with age (Martin 1977a:276). Ethnographers have found
the "legenyes" were identified. Accordingly, the concept of motif designa

411) brought about a concentration and formal abundance that is unparal

typical of the motif variation of the Kalotaszeg legenyes. The compos

The wealth of motifs in legenyes dances in Kalotaszeg is emphasized

269). The following factors contributed to the evolution of a rich motivic

1977a:270-271). As the legenyes has intricate motif structure and relative

under AP 7194/a of MTA.

1977a:273). The motifs in the closing position of the dance period

as the opening dance in the dance cycle up to the turn of the century

exceptionally skillful dancers ought to be continuously registered (Martin

The rest of the explanatory factors underlying the wealth of motifs

of a motif within the dance largely determines its rhythmic and plastic
The variants of motif families outline certain tendencies of variation.
The other functional-contentual explanation for the motif richness The music was recorded by Gyorgy Martin at Nadasdar6c at a Christm

The other functional-contentual explanation for the motif richness

(Martin 1980b:416-417). Men of inferior dance skills no longer dared
1977a) and popular (Martin 1967:127; 1974:64) works devoted to the

mind that can be retrieved immediately and at any moment of time

difficulties of motivisation (Molmir 1947:343-364; Lugossy 1954:

plastically closed as against the open-ended motifs inside the dance

8 quavers), the earlier proposed systematisation by support structur

(Martin-Pesovar 1961:216) and fundamental structural-morphologic
of the dance lies in the as dance in 1964. The

far unused - motifh e should continue the given dance (Martin 1980b:4
demonstration (Domby 1972:8; Martin 1970:23). This state of affairs

starting motif generated by the cadence type of secondary accent /1

Pesovar 1963:307) gave way to an arrangement by motif core. I Motif

"shift of motifs" with age (Martin 1977a:276). Ethnographers have found musicians were from Kolozs. 8 Although Kolozs does not belong

conducted (Martin 1966; Kilrti 1980), the structural-morphological

folk dance tradition. The closing motifus ed to round off a section or

repetitive homogeneous construction (A+A). Another way to bring

to the ethnographic micro-

legenyes dances and the ensuing periodisation largely contributed

preferred motifs that keep changing over his lifetime. That is why
motivic repertory of a dancer changed by age and life period. A
that the formal idiom,

the starting formula it determines allows a "breathing space" for the

measure motif, we have carried out extension. The resultant motif

movements (Martin 1977a:267) that are essential, plastically salient,

structures is to compound a simple core with another one (A+B).

motivic repertory of a dancer changed by age and life period. A region ofNada smente , the Kolozs Gypsy bands served a relatively wide
dancer always has favorite, region. 9
The motifs of the legenyes of a dancer from Bogart elke

preferred motifs that keep changing over his lifetime. That is why Istvan "Moustached" Varga was 63 years old at the time of filming.
the dance improvisations of His performance is not
exceptionally skillful dancers ought to be continuously registered (Martin characterized by youthful virtuosity requiring great physical enduran
1977a: 267). ce but by an utterly
LAszL6 FELFOW I

The rest of the explanatory factors underlying the wealth of motifs crystallized renderin~ of all the dance components. This facet ranges
are to be found in the him with the best dancers
structural-morphological determinants of the dance type. The cadence of the Nadas region. 0 It can only be regretted that no other recordin
type of Kalotaszeg g of Istvan Varga's dance
legenyes dances and the ensuing periodisation largely contributed improvisations were made so that his dance style and laws of dance creation
to its motif richness. The could be studied.
starting motif generated by the cadence type of secondary accent /1 As was mentioned above, Istvan Varga performed seven dances, of
;; ; (Martin 1980b:407, which 1-3 and 6-7 are
411) brought about a concentration and formal abundance that is unparal legenyes. Numbe r 4 is a process of dance motifs danced to the music
leled in the Hungarian of the sebes csardas [fast
folk dance tradition. The closing motifus ed to round off a section or csardas]. He dances out the stamping, heel clicking, leg-hitting motifs !,

pont (Martin 1966:212) and that Kalotaszeg men

the starting formula it determines allows a "breathing space" for the usually dance when they break the close hold of their partners in the
dancer to decide which - so szapora [fast-tempo couple
dance]. Number 5 is an invariant in both Kalotaszeg and Transylvania
far unused - motifh e should continue the given dance (Martin 1980b:4 in general (Ortutay 1981:
15). 23). Istvan Varga performs a swineherd's dance-like dance I I over
The variants of motif families outline certain tendencies of variation. two sticks laid down
The place and function crosswise, to the music of the szapora. The uncertainty about the
of a motif within the dance largely determines its rhythmic and plastic name and function of the
characteristics (Martin dance, and the lack of recent ethnographic data suggest that this dance
1977a:273). The motifs in the closing position of the dance period type is not typical of the
are rhythmically and region. It merely proves that lstvan Varga was responsive to innovat
plastically closed as against the open-ended motifs inside the dance ions in dancing.
process, constituting its The film contains five legenyes dances. Three of them (identified as
backbone. A, C, D) are complete
dance processes since both the beginning and the end can be seen.
Another typical constructive device is the extension and compounding Istvan Varga performed his
Zoltan Karacsony

of motifs .(Martin dances almost face to face with the camera. 12

He was aware of the filming because at the
1977a:270-271). As the legenyes has intricate motif structure and relative
ly large motifs (2 bars, beginning of A and C and at the end ofD he bowed towards the camera
8 quavers), the earlier proposed systematisation by support structur indicating that he would
APPEN DIXB

e (Martin 1964; Martin- begin or end the dance. The Labanotation score at the end of Append
Pesovar 1963:307) gave way to an arrangement by motif core. I Motif ix B is a transcription of
cores are the most typical Dance A.
1970: 267).

movements (Martin 1977a:267) that are essential, plastically salient,

backbone.
accented components of the Before turn ing to the motif stock of this legenyes, let us mention concept
given motif type. When a one-core, one-measure dance motif is ual reflections about
repeated and we get a two- the structural-formal units of the dance (Martin 1977:357). Gyorgy
measure motif, we have carried out extension. The resultant motif Martin wrote the following
172

has two identical cores in a in the diary:

repetitive homogeneous construction (A+A). Another way to bring
about more complex motif Certain motifs and motif sequences are also called 'pont'. Upon my
structures is to compound a simple core with another one (A+B). inquiry, he said
This procedure is the most after performing a whole sequence of motifs that it was a 'pont'. Within
typical of the motif variation of the Kalotaszeg legenyes. The compos a sequence of
ition of the motifs of motifs, certain figures were also called 'pont' or 'figura'. He also uses
the label 'pont'
I '
I1
 the variations of the figures, so presumably the recorded set is abou
3. The spine motif in the position before the closing motif of t

There are two subtypes of the repeated root motif in the studied s

definite period of time in keeping with the musical measures, the danc
compound motifs (61) having a far greater share than any other gro
extended (15) motif types are represented in Varga's arsenal of motifs

Extended motifs divide into three subgroups. The first are radical
periods each, and the two fragmentary dances last 4 (B) and 6 (E) p
the motif roots. But for the precision of the typology we have to t

dances. The five dances amount to a total of 36 pants. Dance A h

beginning of the phrase in Kalotaszeg Lad's dances, which
Structural approach in Hungarianfolk dance research

which can be subsumed into 95 types of27 motif families. Although t

By typology of the units in the motif families defined by the listed c
number 3. The majority of the Lad's dance motifs belong to

points where their structure and length depend on the momentary s

three complete dances (A, C, D) begin with the motif family 307, wh
rhythmic, structural and support features of the motifs involved in c

As regards the share of motif families, simple motifs had the

towards the group of extended motifs. Since, however, the boundari

a single occasion and only five dances were performed, an astonishin

firmly demarcated, they just fall short of the group of extended motif
phrase. It can be a variant of the spine motif or totally diffe

has a beginning, introductory function. The other group of root r

measures; E: 42 measures, totaling 277 measures. Istvan Varga da
2. A central part (falling on the third and fourth bars), the first

of the motif is repeated for extension. This procedure is schematised

function. From the point of view of the structural function we may

two such formula. Istvan Varga exeptionally uses three be

on the seventh and eighth bars - being obligatory for th

the "pont" (falling on the side-accent) a special beginni
1. Beginning motifs. They are indicated by number 1. Owin

The second subgroup of extended motifs comprise tagged figures.

the dances to the following motif. Generally one dancer

were found. On a single occasion, the dancers of Kalotaszeg cannot

In the film Ft. 558, Istvan Varga danced three complete and
cation of Istvan Varga's motifs can be seen in Tables "Combination
4. Motif in the position of cadence are indicated by number

different types. The main criteria of a motif type are the qualitative

root comes from the function of the motif. The motifs are located
measures, they are: Dance A: 89 measures; B: 24 measures;

towards some group will achieve a higher level of organization.

several times. This construction can be schematised as a a a a.

motifs" (gerincma(ivum) are indicated by number 2.
. '\

306.3.2.1. represents this subgroup.

174 LAszL6 FELFOLDI Structural approach in Hungarianfolk dance research 175
,- - ---- - ------_._----- -
to denote some csardas figures. ( ... ) As for the 'angry', he claims to have seen a Gypsy function. From the point of view of the structural function we may differentiate four kinds of

total motif repertory.

processes.
do it, he learnt it then and young Poncsa learnt it from him. Closing the knees was a
figure his late father used to do. Poncsa learnt it from him. He calls the starting motif
the launch.
The following can be concluded: for Istvan Varga, pant meant the motif or section of the
/egenyes and the motifs of the friss csardas as well. He knew the provenance and name of
motifs:
1. Beginning motifs. They are indicated by number 1. Owing to the delayed cadence of
the "pont" (falling on the side-accent) a special beginning formula appears in the
beginning of the phrase in Kalotaszeg Lad's dances, which gives better transition for
the dances to the following motif. Generally one dancer has only one or maximum

weight.
motifs:
individual motifs as well as their association with outstanding dancers. Within the dance section, two such formula. Istvan Varga exeptionally uses three beginning motifs in his dance

page.
he differentiated the motif type functioning as the beginning.
For the systematisation of Istvan Varga's motifs, I used the system elaborated by Gyorgy
Martin [Karsai-Martin 1989:75-81]. The figures of the Bogartelke /egenyes were fitted into the
motif catalogue of Istvan "Mundruc Matyas.,,13 (See Martin 2004.) I extended the serial
numbers of the motif families to three-digit numbers, which allowed for the classification of the
motifs that were not included in Matyas' material. Martin arranged the motifs by the following
criteria.
The first serial number designates the group of motif families. Motifs starting with the same
processes.
2. A central part (falling on the third and fourth bars), the first part of the so called "spine
motifs" (gerincma(ivum) are indicated by number 2.
3. The spine motif in the position before the closing motif of the phrase is designated by
number 3. The majority of the Lad's dance motifs belong to these two groups.
4. Motif in the position of cadence are indicated by number 4. Special motifs - falling
on the seventh and eighth bars - being obligatory for the dancer at the end of the
phrase. It can be a variant of the spine motif or totally different ones.

3. The extended motifs comprise the repetition of one, a single root or the extension of
shift of weight. Their support structure is characterised by the combination of

varying in the framework of a "pont" could not be well interpreted without knowing its structural
supplementary elements. The compositional elements of a compound motif can occur
/egenyes and the motifs of the friss csardas as well. He knew the provenance and name of

number we may identify the position and role of the motif in the higher structural elements (for
example, Phrase). It is important for the classification, because motifs existing, changing,
5. Multiple compound motifs contain 3 or more roots. In Lad's dance of Kalotaszeg this

The third serial number shows the structural function of the motifs. On the basis of this
belong to the same group. The collective groups of motif families are classified by support

The second serial number indicates the structural setup of the motifs. Morphological

the one-bar motifs to two-bar ones. These motifs compared to the simple motifs

4. In compound motifs two roots are connected by means of some conjunctive and
consisting of the repetition of a single two-part movement (for example, repeated one-
motifs are called root motifs
3. Families containing motif roots of alternative (2-2) support structure begin with the

2. The one-measure figures (of two crotchets) are the simple motifs. They consist of two
parts. The main beat contains the core motif, which is complemented with one or two
qualification differentiates the following groups (group number being identical with serial
Martin [Karsai-Martin 1989:75-81]. The figures of the Bogartelke /egenyes were fitted into the

2. In motif families starting with the digit 1 a typical free leg gesture is followed by a
The first serial number designates the group of motif families. Motifs starting with the same
root are grouped here together. This means that motifs having similar anterior parts (main parts)
For the systematisation of Istvan Varga's motifs, I used the system elaborated by Gyorgy
The following can be concluded: for Istvan Varga, pant meant the motif or section of the

numbers of the motif families to three-digit numbers, which allowed for the classification of the
individual motifs as well as their association with outstanding dancers. Within the dance section,

motif catalogue of Istvan "Mundruc Matyas.,,13 (See Martin 2004.) I extended the serial

1. The system of motifs begins with roots or motif families consisting of leg gestures.
motifs that were not included in Matyas' material. Martin arranged the motifs by the following
root are grouped here together. This means that motifs having similar anterior parts (main parts)
,- - ---- - ------_._----- - By typology of the units in the motif families defined by the listed categories, we may identify
., belong to the same group. The collective groups of motif families are classified by support different types. The main criteria of a motif type are the qualitative and quantitative features of
figure his late father used to do. Poncsa learnt it from him. He calls the starting motif
do it, he learnt it then and young Poncsa learnt it from him. Closing the knees was a
to denote some csardas figures. ( ... ) As for the 'angry', he claims to have seen a Gypsy
structure. Five large categories can be differentiated. the motif roots. But for the precision of the typology we have to take into consideration the

5. The last group of motifs (beginning with 4) contain leg or boot-hitting motifs.
1. The system of motifs begins with roots or motif families consisting of leg gestures. rhythmic, structural and support features of the motifs involved in classification. The classifi-
The motiffamilies starting with 0 have repetitive (1-1) support structure. cation of Istvan Varga's motifs can be seen in Tables "Combination of motif roots" on the next

The motiffamilies starting with 0 have repetitive (1-1) support structure.

2. In motif families starting with the digit 1 a typical free leg gesture is followed by a page.

independently or in the majority of cases as members of other motifs.

shift of weight. Their support structure is characterised by the combination of In the film Ft. 558, Istvan Varga danced three complete and two fragmentary /egenyes

4. Families beginning with the digit 3 start with double support (3-3).
repetitive and alternative (1-2) support. dances. The five dances amount to a total of 36 pants. Dance A has 12 sections, C and D 7
3. Families containing motif roots of alternative (2-2) support structure begin with the periods each, and the two fragmentary dances last 4 (B) and 6 (E) pants. In terms of musical
digit 2. measures, they are: Dance A: 89 measures; B: 24 measures; C: 61 measures; D: 61
4. Families beginning with the digit 3 start with double support (3-3). measures; E: 42 measures, totaling 277 measures. Istvan Varga danced altogether 138 motifs
5. The last group of motifs (beginning with 4) contain leg or boot-hitting motifs. which can be subsumed into 95 types of27 motif families. Although the dances were recorded at

n
The second serial number indicates the structural setup of the motifs. Morphological a single occasion and only five dances were performed, an astonishingly high number of figures
he differentiated the motif type functioning as the beginning.

1. The shortest, simplest, often half-measure ,r-:J

qualification differentiates the following groups (group number being identical with serial were found. On a single occasion, the dancers of Kalotaszeg cannot present all their figures and
LAszL6 FELFOLDI

number). the variations of the figures, so presumably the recorded set is about 75-80% of Istvan Varga
total motif repertory.
n
structure. Five large categories can be differentiated.
1. The shortest, simplest, often half-measure ,r-:J motifs are called root motifs
As regards the share of motif families, simple motifs had the smallest share (6 types),

linking gestures ensuring the transition.

repetitive and alternative (1-2) support.
consisting of the repetition of a single two-part movement (for example, repeated one- compound motifs (61) having a far greater share than any other group. The repeated (9) and
sided springing by alternating legs).

sided springing by alternating legs).

changed only in a quantitative way.

extended (15) motif types are represented in Varga's arsenal of motifs proportionately with their
2. The one-measure figures (of two crotchets) are the simple motifs. They consist of two
weight.
parts. The main beat contains the core motif, which is complemented with one or two
There are two subtypes of the repeated root motif in the studied stock. In one, the repeated
linking gestures ensuring the transition.

kind of motif occurs rarely.

root comes from the function of the motif. The motifs are located within the dance section at
3. The extended motifs comprise the repetition of one, a single root or the extension of
points where their structure and length depend on the momentary situation. For example, all
the one-bar motifs to two-bar ones. These motifs compared to the simple motifs
three complete dances (A, C, D) begin with the motif family 307, which suggests that the figure
changed only in a quantitative way.
has a beginning, introductory function. The other group of root repetition points vigorously
4. In compound motifs two roots are connected by means of some conjunctive and
towards the group of extended motifs. Since, however, the boundaries of the figure are not yet
supplementary elements. The compositional elements of a compound motif can occur
firmly demarcated, they just fall short of the group of extended motifs. Soon the motifs tending
independently or in the majority of cases as members of other motifs.
towards some group will achieve a higher level of organization.
5. Multiple compound motifs contain 3 or more roots. In Lad's dance of Kalotaszeg this
Extended motifs divide into three subgroups. The first are radically extended figures . For a
digit 2.

kind of motif occurs rarely.

the launch.

definite period of time in keeping with the musical measures, the dancer repeats a root-like motif
The third serial number shows the structural function of the motifs. On the basis of this
several times. This construction can be schematised as a a a a.
number we may identify the position and role of the motif in the higher structural elements (for
The second subgroup of extended motifs comprise tagged figures. In this case, some member
number).
example, Phrase). It is important for the classification, because motifs existing, changing,
criteria.

of the motif is repeated for extension. This procedure is schematised as A(a+a). The motif type
varying in the framework of a "pont" could not be well interpreted without knowing its structural
306.3.2.1. represents this subgroup.
174

.,
 progress carried out with the motif type 101 is paired with a special fi
starting position of equilibrium. The motifs can be repeated symmetric
can be recompensed by backward spring, the sideward process by reve

c~~sing fi~ure. The pant structure can also be changed by the constructio

sectIOn boundary and repeats the motif symmetrically in the next s

principle of construction in opposites assumes a greater role in the com
that confirms the dancer's construction in opposites. The performer's

spme mottf nO.l02 of pant VIII is followed by the sz it616 motif. The s
more roots is rare because it would make the motif overcrowded

means that especially for root repetition and extended motifs there is a
Multiple compound motifs in Istvan Varga's repertory are few . The

adjust to the musical measures, as the second motif is 2 quavers lon

back to the starting position. The principle of opposition also invali

For a full explanation for this structural analysis, see the original text
When speaking of motif construction, the principle of opposition
402

the ~otif in opposite direction is impossible for support difficulties.

can be found in the dance transcription (Dance A). In measures 3-4
Structural approach in Hungarianfolk dance research

+
+
+
+
307

however, ought to be the subject matter of another examination.

304

++
Posterior members

+++
303

++

* = Posterior member of mUltiple compound motif.

+

+
+
+

+
209

++
+
+
'. ).

++ +++
" .;

411 = only occurs as posterior member.

' "

+++

***
103

++

+
102

++
++
Structural approach in Hungarianfolk dance research 177
._-----------......__._.._-----

+
176 USZL6 FELFOWl

++++ ***
The third subgroup of extension produces motifs similar to compound motifs in that a motif is
repeated in full, schematically : A+A. The best examples are motifs 304.3. and 408.3. Prefix Posterior members

004

+
Single motifs are normally produced when a central, essential core is combined with one or

+
two connecting elements that ensure the continuous flow of the dance via identical or 002 003 004 102 103 209 303 304 307 402 403 404 408 411

003
001 ++ +
symmetrical repetition. Such a type is 003.2 .2. in Istvan Varga's arsenal. The contacting leg

+
002 ++ +++ +
gesture of a narrow compass is linked to an in/eno [gesturing leg gliding against the supporting

comprehend.
003 ++ ++ + +

++ +++
leg] of wide amplitude started from the back. The linking element also allows for the 004 ++ +++ ++ +

002
++

++
performance of a two-measure compound motif. 102 +

+
Prefix
Owing to it being the basic position, the double support motifs are less variable, with the 103 + +

102

409
304
305
207
002

004

402

404
406
408

410
208
303
103
203
003

403
001
exception of their symmetrical repetition in space. 203 +
Istvan Varga's motif stock contains a peculiar figure. What is most striking about this motif 207 + ++ +++ +++ +
208 + ++++ *** *** ++
is that it has two cores despite its length of one measure. It is like a two-measure motif shrunken.
303 + +
The first root is the aerial heel click, the second is the swinging of the leg, compounded by 304 + +
springing sideways. This produces an unusual motif that is to be taken for an invariant. 305 ++
The dancer mainly produces his motifs by compounding. The compound motifs take up the 402 + +++ ++
largest share in his repertory. In all three subtypes of the Central -Transylvanian legenyes

The plastic-dynamic amplitude of the constituent motifs is an important factor in the union of
403 + +

motifs. The dancers aim to present motifs, the dynamic effects of whose roots are different, and
thus they do not cancel each other out. The following two tables present the linking of the roots
(Mez6seg, Maros-Kliklill6 region, Kalotaszeg) this principle of construction '. is the most
prevalent. Simple motifs used independently or in combination will be connected temporarily or
Istvan Varga's motif stock contains a peculiar figure. What is most striking about this motif

for a period of time during a dance improvisation, thus producing a motif of a more advanced
largest share in his repertory. In all three subtypes of the Central -Transylvanian legenyes
The dancer mainly produces his motifs by compounding. The compound motifs take up the
The first root is the aerial heel click, the second is the swinging of the leg, compounded by
is that it has two cores despite its length of one measure. It is like a two-measure motif shrunken.
Owing to it being the basic position, the double support motifs are less variable, with the
gesture of a narrow compass is linked to an in/eno [gesturing leg gliding against the supporting
leg] of wide amplitude started from the back. The linking element also allows for the
Single motifs are normally produced when a central, essential core is combined with one or
two connecting elements that ensure the continuous flow of the dance via identical or
symmetrical repetition. Such a type is 003.2 .2. in Istvan Varga's arsenal. The contacting leg
The third subgroup of extension produces motifs similar to compound motifs in that a motif is
._-----------......__._.._-----
(Mez6seg, Maros-Kliklill6 region, Kalotaszeg) this principle of construction '. is the most 404 +
prevalent. Simple motifs used independently or in combination will be connected temporarily or 406 +
408 + +
for a period of time during a dance improvisation, thus producing a motif of a more advanced
409 ++

springing sideways. This produces an unusual motif that is to be taken for an invariant.
structure. 410 +
repeated in full, schematically : A+A. The best examples are motifs 304.3. and 408.3.

The plastic-dynamic amplitude of the constituent motifs is an important factor in the union of
motifs. The dancers aim to present motifs, the dynamic effects of whose roots are different, and

elements with how

thus they do not cancel each other out. The following two tables present the linking of the roots
* = Posterior member of mUltiple compound motif.

many prefixes
411 = only occurs as posterior member.

As posterior
of compound motifs.
Multiple compound motifs in Istvan Varga's repertory are few . The combination of three or
Combination of motif roots: more roots is rare because it would make the motif overcrowded, almost impossible to
comprehend.

1
1
2
6
3
2
4
2
5
4
1
Motif 'Frequency As prefixes As posterior When speaking of motif construction, the principle of opposition also needs mention. It

with how many posterior

roots ofthe connection with how many posterior elements with how means that especially for root repetition and extended motifs there is a compositional principle
elements many prefixes
2
that confirms the dancer's construction in opposites. The performer's goal is a return to the
001 2
USZL6 FELFOWl

00 2 7 3 4 starting position of equilibrium. The motifs can be repeated symmetrically, the forward spring
00 3 5 4 1 can be recompensed by backward spring, the sideward process by reversed motion. Examples
3 4 can be found in the dance transcription (Dance A). In measures 3-4 of pant VII, the forward

As prefixes
00 4 7
exception of their symmetrical repetition in space.

elements
10 2 3 1
performance of a two-measure compound motif.

5
progress carried out with the motif type 101 is paired with a special figure, which brings him
103 7 2
1 1 back to the starting position. The principle of opposition also invalidates the compulsion to
2 03

1
1
2
2
1
1
2
2
3
3
1
1
2
4
adjust to the musical measures, as the second motif is 2 quavers longer, thus it shortens the

3
3
2
207 3 3
208 3 3 c~~sing fi~ure. The pant structure can also be changed by the construction in opposites. The first
209 2 2 spme mottf nO.l02 of pant VIII is followed by the sz it616 motif. The symmetrical repetition of

ofthe connection
30 3 8 2 6
2 3 the ~otif in opposite direction is impossible for support difficulties. The dancer ignores the
304 5
sectIOn boundary and repeats the motif symmetrically in the next section (pant IX). The

'Frequency
305 1 1
1 principle of construction in opposites assumes a greater role in the composition of pants. That,
Combination of motif roots:
3 07 1
40 2 4 2 2 however, ought to be the subject matter of another examination.

1
1
3
4
1
1
1
5
8
2
3
3
1
3
7
7
2

5
1

7
40 6 1 For a full explanation for this structural analysis, see the original text of Karacsony 1990.
40 8 3 2 1
of compound motifs.

409 1 1
410 1 1
Motif
roots

40 6
40 8
409
410
40 2
209
30 3

305
3 07
2 03

304
208
103
00 4
10 2

207
00 3
00 2
001
structure.
176
 1977a "Egy improvizativ ferfitanc strukturaja" [The structure of an improvisatory man's dan

1985 Me=asegi siirii legenyes [Fast legenyes in Mez6seg]. Budapest: Nepmuvelesi Intezet.

1947 Magyar tanchagyomanyok [Hungarian dance traditions]. Budapest: Magyar Elet Ko

1981 A m}p miives=ete [The art of the peasantry]. Bodrogi Tibor - DomoWr Tekla (editors)
1964 Motivumkutatas, motivumrends=ere=es. A sark6=dunamenti tancok motivumkincse [R

Tanctudomanyi Tanulmanyok 1963-64: 193-233. Budapest: Magyar Ta.ncmuveszek Szove

1961 "A structural analysis of the Hungarian folk dance. A methodological sketch" Ac
2004 Matyas lstvan 'Mundruc'. Egy kalotas=egi tancos egyenisegvi=sgalata [Istvan Matya
1980a "The traditional dance cycle - as the largest unit offolkdancing." Der altere Paartan
1966 "Egy erdelyi ferfitanc szerkezeti sajatossagai" [The structural features ofa Transylva

methodological sketch]. Tanctudomanyi Tanulmanyok 1959-60: 211-248. Budapest: Mag

Kalotaszeg] Nepi Kultura - Nepi Tarsadalom 9: 357-389. Budapest: MTA Neprajzi Kutat

1961 "A magyar neptanc szerkezeti elemzese. M6dszertani vazlat" [Structural analysis of
1967 "Kalotaszegi legenyes" [Lad's dance from Kalotaszeg]. Tancmiives=eti Ertesita: 126

1980b "Improvisation and regulation in Hungarian folk dances." Acta Ethnographica 29: 3

research ofa dancer from Kalotaszeg region]. Budapest: Planetas; Konyvkiad6 - MTA Ze
ofmoti~s. The motivic stock of dances in Sarkoz along the Danube]. Budapest: Nepmuvel

1963 "Determination of motif types in dance folklore." Acta Ethnographia 12: 295-3

1964 "A motivumtipus meghahirozasa a tancfolkl6rban" [Determination of motif types in

1970 Magyar tanctipusok es tancdialektusok [Hungarian dance types and dance dialects].

1977b "A tancos es a zene. Tanczenei terminol6gia Kalotaszegen" [The dancer and music.
Structural approach in Hungarianfolk dance research

Tanulmanyok 1976-77:.264-300. Budapest: MagyarTancmuveszek Szovetsege.

1974 A magyar nep tancai [Dances of the Hungarians]. Budapest: Corvina.
Os=t. K6=lemenyei 23: 201-219. Budapest: Magyar Tudom{myos Akademia.
"

Stockholm: Arkivet for folklig dans, Dansmuseet.

Budapest: Magyar Tudomanyos Akademia.

178 LAszL6 FHFOLDJ Structural approach in Hungarianfolk dance research 179

Intezet. (266 pages, and 144 melodies.)

ENDNOTES MARTIN, Gyorgy

MARTIN, Gyorgy; PESovAR, Ern6

I. Classification of the motifs is a rather complicated task, because of the numerous possibilities of motif variation. It 1964 Motivumkutatas, motivumrends=ere=es. A sark6=dunamenti tancok motivumkincse [Research and systematization
is difficult to define the relatedness among the great number of motifs and to put them into a system showing their ofmoti~s. The motivic stock of dances in Sarkoz along the Danube]. Budapest: Nepmuvelesi Intezet. (Appendix with

Tancmuveszek Szovetsege.
Lanyi, Agoston.)
real affinity (Ortutay 1981: 52-53) and giving the possibility to insert new motifs into the system later on.

Tudomanyos Akademia.
1966 "Egy erdelyi ferfitanc szerkezeti sajatossagai" [The structural features ofa Transylvanian man's dance] MTA.I.
2. According to the field diary Istvan Varga was 63 years old at the time of filming in 1965. Os=t. K6=lemenyei 23: 201-219. Budapest: Magyar Tudom{myos Akademia.

Lanyi, Agoston.)
3. On May 10, 1965 Gyorgy Martin made a sound recording with Istvan Varga, who whistled melodies of Lad's dance 1967 "Kalotaszegi legenyes" [Lad's dance from Kalotaszeg]. Tancmiives=eti Ertesita: 126-129. Budapest: Magyar

ORTUTA Y, Gyula
MARTIN, Gyorgy

MOLNAR, Istvan
and Quick csardas for him. Presumably, it was that time, that they agreed on the date and place of future dance- Tancmuveszek Szovetsege.

Szovetsege.
filming. 1970 Magyar tanctipusok es tancdialektusok [Hungarian dance types and dance dialects]. Budapest: Nepmuvelesi

Kiad6.
4. See films MTA Ft. 513 and 542. Istvan Varga does not dance in these films and his name does not appear in the Intezet. (266 pages, and 144 melodies.)
diary oflater filmings. 1974 A magyar nep tancai [Dances of the Hungarians]. Budapest: Corvina.
5. At hat time Jolan Borbely, one ofthe makers of the film, taught Hungarian language and literature in the Arany Janos 1977a "Egy improvizativ ferfitanc strukturaja" [The structure of an improvisatory man's dance]. Tanctudomanyi
primary school. Tanulmanyok 1976-77:.264-300. Budapest: MagyarTancmuveszek Szovetsege.
6. They presumably handled the tape-recorder performing playback music and the camera alternately. 1977b "A tancos es a zene. Tanczenei terminol6gia Kalotaszegen" [The dancer and music. Dance music terminology in
Kalotaszeg] Nepi Kultura - Nepi Tarsadalom 9: 357-389. Budapest: MTA Neprajzi Kutat6csoport.
7. Since January I, 1974 the Film Archives of the Folk Dance Department of the Institute for Musicology of the
Hungarian Academy of Sciences. 1980a "The traditional dance cycle - as the largest unit offolkdancing." Der altere Paartan= in Europa: 46-66.
Stockholm: Arkivet for folklig dans, Dansmuseet.
8. The band includes Lajos Arman (18 years old) first violin, J6zsefLakatos (35) second vio'lin, and Janos Sztojka (29)
1980b "Improvisation and regulation in Hungarian folk dances." Acta Ethnographica 29: 391-425. Budapest: Magyar

1990 "Egy bogartelki ferfi legenyes motivumkincse" [The Motif-repertory of the Lads' dance from Bogartelke
bass. They play a pair of dances including legenyes, csardas and s=apora [swift couple dance]. The good quality of
bass. They play a pair of dances including legenyes, csardas and s=apora [swift couple dance]. The good quality of

11. The diary of the filming says Istvan Varga learned the dance from a Hungarian man of Egeres two years his senior in
10. See Istvan "Mundruc" Matyas of Vista, Janos "Poncsa" Fekete the elder and the younger, and Ferenc "Gyurka"

1918. Before this time, he had not seen this dance. He called it "sebes" [fast] csardas or "kondas" [swineherder's]
stresses the cadence with primary accent typical of the Gyorgyfalva legenyes (Karcsony 1985). Istvan Varga was
closely related to the siirii.[dense] /egenyes of western Mez6seg Region (Martin 1985). The second violin also
the functional recording and its appropriate length made Gyorgy Martin copy it onto a playback tape and use it

9. For example, Lajos Arman often went to Gyorgyfalva next to Kolozsvar to play. The legenyes of that village is
8. The band includes Lajos Arman (18 years old) first violin, J6zsefLakatos (35) second vio'lin, and Janos Sztojka (29)
5. At hat time Jolan Borbely, one ofthe makers of the film, taught Hungarian language and literature in the Arany Janos
4. See films MTA Ft. 513 and 542. Istvan Varga does not dance in these films and his name does not appear in the

7. Since January I, 1974 the Film Archives of the Folk Dance Department of the Institute for Musicology of the
I. Classification of the motifs is a rather complicated task, because of the numerous possibilities of motif variation. It

3. On May 10, 1965 Gyorgy Martin made a sound recording with Istvan Varga, who whistled melodies of Lad's dance
and Quick csardas for him. Presumably, it was that time, that they agreed on the date and place of future dance-
is difficult to define the relatedness among the great number of motifs and to put them into a system showing their
Tudomanyos Akademia.

1980 "Hungarian dance structures: a linguistic approach." Journalfor the anthropological study of movement I: 45-
1979 "Kalotaszeg" [Kalotaszeg Region]. Ortutay Gyula (editor), Nepraj=i Lexikon [Ethnographic Encyclopaedia] 2:
the functional recording and its appropriate length made Gyorgy Martin copy it onto a playback tape and use it

1972 Kalotas=egi nepi tancok [Folk dances ofKalotaszeg region]. Cluj: Kolozs Megye Szocialista Muvel6desi es
1985 Me=asegi siirii legenyes [Fast legenyes in Mez6seg]. Budapest: Nepmuvelesi Intezet.

1989 Larincreve tancelete es tancai [The dance life and dances ofL6rincreve]. Budapest: MTA Zenetudomanyi
frequently for his filmings in Kalotaszeg.
2004 Matyas lstvan 'Mundruc'. Egy kalotas=egi tancos egyenisegvi=sgalata [Istvan Matyas 'Mundruc'. Individuality

12. He probably turned slightly toward the machine producing the playback music located next to the camera.
9. For example, Lajos Arman often went to Gyorgyfalva next to Kolozsvar to play. The legenyes of that village is

1985 Egy gyorgyfalvi ferfi legenyes tancai [The legenyes dances by Gyorgyfalva] (manuscript). Budapest.
research ofa dancer from Kalotaszeg region]. Budapest: Planetas; Konyvkiad6 - MTA Zenetudomanyi Intezet.
real affinity (Ortutay 1981: 52-53) and giving the possibility to insert new motifs into the system later on.

closely related to the siirii.[dense] /egenyes of western Mez6seg Region (Martin 1985). The second violin also
MARTIN, Gyorgy; PESovAR, Ern6
stresses the cadence with primary accent typical of the Gyorgyfalva legenyes (Karcsony 1985). Istvan Varga was
1961 "A magyar neptanc szerkezeti elemzese. M6dszertani vazlat" [Structural analysis of Hungarian folk dances. A

6. They presumably handled the tape-recorder performing playback music and the camera alternately.
not bothered by this fact. methodological sketch]. Tanctudomanyi Tanulmanyok 1959-60: 211-248. Budapest: Magyar Tancmuveszek

village]. Tanctudomanyi Tanulmanyok: 122-163. Budapest: Magyar Timcmuveszek Szovetsege.

10. See Istvan "Mundruc" Matyas of Vista, Janos "Poncsa" Fekete the elder and the younger, and Ferenc "Gyurka" Szovetsege.
Gergely oflnaktelke. 1961 "A structural analysis of the Hungarian folk dance. A methodological sketch" Acta Ethnographica 10: 1-40.
2. According to the field diary Istvan Varga was 63 years old at the time of filming in 1965.

11. The diary of the filming says Istvan Varga learned the dance from a Hungarian man of Egeres two years his senior in Budapest: Magyar Tudomanyos Akademia.
1918. Before this time, he had not seen this dance. He called it "sebes" [fast] csardas or "kondas" [swineherder's] 1963 "Determination of motif types in dance folklore." Acta Ethnographia 12: 295-331. Budapest: Akademiai
csardas. Kiad6.
12. He probably turned slightly toward the machine producing the playback music located next to the camera. 1964 "A motivumtipus meghahirozasa a tancfolkl6rban" [Determination of motif types in dance folklore]
Tanctudomanyi Tanulmanyok 1963-64: 193-233. Budapest: Magyar Ta.ncmuveszek Szovetsege.
MOLNAR, Istvan

1954 39 verbunktanc [39 verbunk dances]. Budapest: Zenemukiad6.

1947 Magyar tanchagyomanyok [Hungarian dance traditions]. Budapest: Magyar Elet Konyvkiad6.
LAszL6 FHFOLDJ

REFERENCES CITED
DOMBY,Imre ORTUTA Y, Gyula

63. New York: Department of Dance, University of New York.

1972 Kalotas=egi nepi tancok [Folk dances ofKalotaszeg region]. Cluj: Kolozs Megye Szocialista Muvel6desi es 1981 A m}p miives=ete [The art of the peasantry]. Bodrogi Tibor - DomoWr Tekla (editors). Budapest: Corvina.
Nevelesi Bizottsaga.
KARACSONY, Zoltan
1985 Egy gyorgyfalvi ferfi legenyes tancai [The legenyes dances by Gyorgyfalva] (manuscript). Budapest.
1990 "Egy bogartelki ferfi legenyes motivumkincse" [The Motif-repertory of the Lads' dance from Bogartelke
village]. Tanctudomanyi Tanulmanyok: 122-163. Budapest: Magyar Timcmuveszek Szovetsege.
frequently for his filmings in Kalotaszeg.

KARSAI, Zsigmond; MARTIN, Gyorgy

737-740. Budapest: AkademiaiKiad6.

1989 Larincreve tancelete es tancai [The dance life and dances ofL6rincreve]. Budapest: MTA Zenetudomanyi
Intezet.

KARSAI, Zsigmond; MARTIN, Gyorgy

Hungarian Academy of Sciences.

K6sa, Laszl6
1979 "Kalotaszeg" [Kalotaszeg Region]. Ortutay Gyula (editor), Nepraj=i Lexikon [Ethnographic Encyclopaedia] 2:
737-740. Budapest: AkademiaiKiad6.
not bothered by this fact.
diary oflater filmings.

KORTI, Laszl6
Gergely oflnaktelke.

REFERENCES CITED
1980 "Hungarian dance structures: a linguistic approach." Journalfor the anthropological study of movement I: 45-

Nevelesi Bizottsaga.
KARACSONY, Zoltan
63. New York: Department of Dance, University of New York.
primary school.

LUGOSSY, Emma
LUGOSSY, Emma

KORTI, Laszl6
1954 39 verbunktanc [39 verbunk dances]. Budapest: Zenemukiad6. DOMBY,Imre

K6sa, Laszl6
ENDNOTES

csardas.
filming.

Intezet.
178
 Structural approach in Hungarianfolk dance research

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The following pages are a transcription of Dance A from the film of IstvM (Moustached)
~ •

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Varga, born 1902 in Bogfutelke (Bagara, judelul Cluj, Romania). The film recording was done
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