This essay will examine and discuss how Hungarian Folk Dance reflects or challenges certain cultural values and beliefs.
Hungarian Folk Dance is danced by women and men from Hungary, which is a country in the centre of Europe (Wingrave, 1984). The Hungarian ancestors, the Magyars came from the east (Mongolia) therefore were a non-European race. Before they began to live a settled life in the Carpathian basin they were nomads which has had influenced their subsequent culture. That is why they were ethnically and linguistically distinct and their traditions, especially dance would always retain something of their ancient origins, hence to compare its history with its neighbours it is very different. The name Magyar refers to dance and music as well (Allenby-Jaffé, 2006). There are several types of folk dance in Hungary. This essay will examine and discuss how Hungarian Folk Dance mirrors or defies certain cultural ideals.
Some of the Hungarian Folk Dances reflect perfectly certain cultural values. Hungary was always extravagant among its neighbours perhaps because of its roots that their progenitors came all the way from Asia in the 9th century (Vékony, 2005).
Hungarians, who have kept their music and dance – with its very individualistic quality – intact in spite of the influence of invading forces of the Tartars, Turks and Austrians. Traditional folk-dance is therefore much more of a regional nature than a political interpretation.
At first it is needed to state that although there are several types of dance within Hungarian Folk Dance they all have same characteristics. They are almost always improvised and have variations in specific regions. Every type has a precise music. Most important of all they all are important elements of community life (Czompo, 2006).
In the history Hungary was in occupation and war most of the time (Wingrave, 1984) which characterised some of its dances. Such as the hajdútánc (dance of the Haiduk), which was a battle dance with swords and axes (Horvath, 1977). Danced by men at victory feasts and wakes, and at jollifications at court (Magyar, 1979). It was the most popular dance in the 16th and 17th centuries. An English traveller, Edward Brown describes: “clashing the same, turning, winding, elevating, and depressing their bodies with strong and active motions and singing at the same time” (Allenby-Jaffé, 2006). These movements describe most of Hungarian Folk dances. Either women or men sing/shout during performance according to the website, GoUnesco (2016). The movements of the hajdútánc described that “this must have been a true sword dance of ancient origin” (Allenby-Jaffé, 2006). Ancient times, when they served as parts of some rituals as martial dances (GoUnesco.com, 2016).
The nowadays form of this hajdútánc is the botoló (Stick Dance) which is danced with sticks (Magyar, 1979). This dance type is danced by both genders but it signifies the man’s power over the women. It is danced with decorated (colourful Hungarian motifs) sticks at weddings (Allenby-Jaffé, 2006). However other studies suggest that botoló has another origin. The reason of this might be that its routes are not really clear from centuries ago. It can be traced back to the Magyar pásztorok (herdsmen). Up to the mid-19th century nomadic stock raising was popular in Hungary. Herdsmen lived outside in every weather condition. They needed to protect their herds against wolves and thieves. That is why they handled various tools (axes, ropes and sticks) very well and they used these skills during dances. Despite the purpose (attacking, defending) of these abilities the dance also had humorous elements as well (Horvath, 1977).
It is worth to mention one of the women dance the karikázó (Circle Dance) (Wingrave, 1984). At first it is needed to explain why there are more men dances than women ones. As the norm dictated:
While women lived a rather secluded life and only within their family, the men had more opportunity for entertainment. In certain occupations it was also the custom to display strength and skill by dancing, and therefore the movements and expressions of the male dances are extremely rich.
In another perspective karikázó can be rich. Not because of the dance itself but because of the amount of dancers, clothes and singing. During karikázó they wear beautiful pleated skirts to attract men. Women sing vividly with a beat of their feet in a circle (Wingrave, 1984). It is from the Middle Ages and these are the most archaic forms of folkdances found in Hungary, according to Andor Czompo. Today they dance it at festive occasions, when the musicians resting because it is mentioned this dance type does not demand instrumental music along with it (Magyar, 1979).
On the other hand, csárdás has become the national dance of Hungary. According to Kálmán Magyar csárdás is from the Renaissance (Magyar, 1979). As the well-known Hungarian Folk Dance anthropologist said: “Most folk dances of east European peoples date back to the Renaissance when free turning couples were widely popular” (Felföldi, 1999). Hungarian dance can be divided into two major categories: dances from the Middle Ages and dances developed in the 18th and 19th centuries (Martin, 1974). In this case it can be stated that csárdás is an old dance with relatively new elements from the 18th century. Csárdás means “inn dance” which reflects that this dance form was danced in inns by serfs at first (Allenby-Jaffé, 2006, p.143). The development of the csárdás may be tracked back the 18th century. Around this time it was called verbunkos, the folk dance was popular which is the men’s recruiting dance (Tari, 2012). Verbunkos is a solo man’s dance which purpose was to recruit young men into the Austro-Hungarian army (Allenby-Jaffé, 2006). “The joint clapping of hands, the slapping of boots in intricated rhythms” characterised that style (Horvath, 1977). The controversial fact is that the csárdás developed of a dance which was the end product of the Habsburg oppression and yet it represents the nation as a whole without the invaders. As Michael J. Horvath states about the csárdás:
As a reaction to the Hapsburg oppression, not even the fashionable society dance the waltz met with enthusiastic reception, because it had reached Hungary via Vienna. It provoked an attempt to create a characteristically national society dance.
The characteristics of this type of dance is that it starts slowly, then increases in speed and excitement as it progresses (Wingrave, 1984). In the video of the youtube channel, Hungarian and other Traditions (2015) they demonstrate csárdás. It is always danced by couples and sometimes the man has solo parts which typified with clapping and other beats generated with the use of body. In this dance, it is clear that men and women have their own movement culture which is very different from each other. In my experience it is well defined that this both cannot be blended. As a Hungarian it was part of my childhood to participate in some táncház, which events gather all kind of people to celebrate Hungarian dance culture with live music (Taylor, 2008). Because of the richness and colourfulness of the male side of dance I wanted to take part as a man which is more difficult to learn. It turned out there is no possibility to do that because it is not allowed. So the two genders have their own movements and they are not interchangeable.
To summarise all, Hungarian Folk Dances reflect the Magyars history and therefore their cultural values. It represents how their ancestors lived, the relationship between men and women and the social roles which are very clearly separated. It can be seen how men had more opportunity to get the joy of dance in the history since they were free of housework and they could control their own life. Not least it stands out from other European dances despite Hungary was invaded so many times. Perhaps that is the reason why it is unique so it can stands against and be disconnected without any influence. That is why Hungarians are proud of their culture and therefore their dance. Although, the national dance, csárdás was indirectly influenced by Austrians that challenges Hungarian cultural beliefs. In turn other types undoubtedly mirror certain values of Magyar culture.
Allenby-Jaffé, M. (2006) National Dance. 1st ed. Malaysia: Alden Press.
Andor Czompo (2006) Introduction to Hungarian Dances. [ONLINE] Available at: http://hungaria.org/hal/folklor/index.php?halid=3&menuid=55. [Accessed 19 March 2017].
Catalano, E. (2016) ‘Dance and Society’. DC4002: Dancing Cultures. Available at: https://studyspace.kingston.ac.uk. [Accessed: 02 April 2017].
Felföldi, L. (1999) ‘Folk Dance Research in Hungary: Relations Among Theory, Fieldwork and the Archive’, in Buckland, T. J. (ed.) Dance in the Field, pp. 55-70.
GoUnesco (2016) Hungarian folk dances. [ONLINE] Available at: http://www.gounesco.com/hungarian-folk-dances/. [Accessed 19 March 2017].
Horvath, M. J. (1976) Hungarian Civilization: A Short History with Bibliography. 1st ed. College Park: University of Maryland.
Hungarian and other Traditions (2015) György és Andrea - Matyó csárdás és friss. [Online Video]. 20 January 2015. Available from: https://www.youtube.com/watch?v=dF-x3ASonHw. [Accessed: 19 March 2017].
Magyar, K. (1979) ‘Hungarian Folk Dance Types and Dialects’. Viltis Magazine, 37, 5.
Martin, Gy. (1974) Hungarian Folk Dances. 1st ed. Gyoma: Kner Printing House.
Tari, L. (2012) ‘The Verbunkos, A Music Genre and Musical Symbol of Hungary’. Bulletin of the Transilvania University of Brasov, 5, 81-86.
Taylor, M. N. (2008) The politics of culture: Folk critique and transformation of the state in Hungary. 6. New York: City University of New York.
Vékony, G. (2016) Magyar őstörténet - Magyar honfoglalás. 1st ed. Hungary: Nap Kiadó Kft.. Translated by K. Péter for the essay
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