國家圖書館將於7月28日下午2:30至4:30假本館國際會議廳舉辦「匈牙利民俗音樂珍藏資料捐贈儀式及聯合國世界文化遺產--匈牙利舞蹈示範」。捐贈儀式以中、英雙語進行，匈牙利駐臺代表處雷文德代表 (Levente Szekely) 及夫人 (Hedvig Sztano Szekelyne) 將分別以小提琴及舞蹈表演，為出席來賓示範傳統匈牙利音樂與舞蹈的豐富內涵。歡迎民眾踴躍報名參加!公務人員全程參與者可獲2小時學習時數認證，有需要者請記得填寫身分證字號。 報名網址: http://activity.ncl.edu.tw/p_Event.aspx?event_id=561 有關匈牙利傳統舞蹈 Dance House Movement，請參考以下英文資訊； The success of the Dance House Movement in Hungary and abroad owes a great deal to the living traditions of Hungarian folk music and folk dance, the highly-developed state of these forms of art, and the fact that both folk music and folk dance have been researched in detail, and are being taught in an organized fashion using techniques based on these research findings. But the real secret of the movement’s success is a functional approach, which aims to make the whole complex of folk traditions a part of everyday life. The Dance House serves as an example how to salvage for future generations the viable elements of our disappearing traditional cultures. It can help ease the contradiction between various national traditions and the new world culture now in the making, and help forge a channel of communication between them. The word „Táncház” (Dance House) has always had a twofold meaning: on one hand, it means the place, the house where the dancing takes place; on the other, it means an occasion, the opportunity to dance. The place was either a space within a building (winter) or an outdoor area (summer.) The peasant way of life provided many occasions for dancing, but the táncház was reserved exclusively for single young men and women and it was their main form of recreation. A married man who wanted to dance had to wait for a holiday, a wedding or a ball. Music was usually provided by semi-professional Gypsy musicians. The operation of the táncház was regulated by customary law. A group of youths elected their leaders who than chose the house to rent, hired the musicians, administered the finances, and made sure that there was no disturbance. Their agreement with the owner of the house and the musicians was verbal and for a specified period of time. The musicians were generally engaged for ten Sundays at a stretch; the house was rented for a year or longer. The young people who frequented the táncház all contributed to paying the rent and the musicians in cash, labor, or produce. The music played and the dances were passed on in the traditional way from one generation to the next. The dancers were still children when they began learning the local dances, songs and customs from one another, their parents or other fellow villagers. There were regular “tiny ones’ dances”, where small children were taught how to dance. There was no dance teaching at the táncház, which was meant to be pure entertainment. The musicians providing the music had learned to play in much the same way as the dancers had learned to dance. In any given village, only the local dances were danced. Most musicians would play not just in their own community, but in neighboring villages as well and in ethnically mixed areas they usually know the music of every ethnic group. However, in any particular táncház they will be expected to play only the music that goes with the local dances. Those frequenting an urban dance house have no family tradition of dancing and music, they have to learn everything from scratch. The táncház is fun only for those who have already learned to dance and sing. Teaching, therefore, is part of what the dance house movement is about. Instructions in dancing are given separately from lessons in the various musical instruments, with the best dancers and musicians acting as instructors. The instructors - generally a man and a woman together - give dancing lessons at the beginning of the táncház, and continue to instruct the beginners at the back of the hall the entire time during the dance proper. There is a special táncház for children - between the ages of 3 and 10 - generally before the adults’ dance begins. Though the average age of those frequenting the táncház today happens to be the same as in old times, there is no age or marital-status restriction on attendance. The dance house is generally managed by the members of the orchestra and the dancing instructors. They are the ones who sign the written contracts with the state-run cultural centers which, to this day, are likely to be the location of any given táncház. The cultural center provides the dance hall, the staff (ushers, coat-check ladies, refreshment stand operators, etc.), and pays the musicians and the dance instructors. Those attending the táncház pay an admission fee, which goes to the cultural center. Since the fees do not cover the expenses, the operation of practically every dance house depends on state subsidies. There are two things that need to be noted. One is that it is the “orchestra”, the musicians, who have the leading role and the final word. Even the dance instructors are often selected by the musicians. Unlike in the old tradition, in the modern táncház musicians will play not just in one particular musical idiom or the music of one particular village, but successive sets of tunes. (A “set” comprises the total of all the dance tunes of a particular village or locality, with the dances succeeding each other in a definite order — a “dance suite”, so to speak.) In an urban táncház, therefore, both musicians and dancers are familiar with several styles of folk dancing. A good táncház dancer will be comfortable with eight to ten “dance suites”, and a good táncház musician with a corresponding diversity of dance tunes. The musicians of a “dance house orchestra” are generally semi-professionals, usually have some other occupation or are still studying. Many of them have never had any formal musical training, but learned to play and picked up the tunes from older musicians or from recordings, by ear. In the last twenty years or so, the teaching of folk singing and instrumental folk music has become a part of the curriculum of a number of schools of music and lately in the Liszt Academy of Music as well. Essential distinctive features of the “modern” dance house: 1. It is not a performance, but a form of recreation in which folk music and folk dance appear in their original forms and functions as the “native language” of those taking part. 2. Heritage is not passed down through generations in traditional ways, but revived based on value judgements, filtered through scientific research, conveyed in an institutionalized framework. 3. It is a loosely-knit association of informal “communities.” 4. Members are not passive consumers of the artificial products of the music industry, they play an active role in their own entertainment and do some hard work in the process. 5. It has treated the folk cultures of Hungary’s non-Magyar ethnic groups and of every nation as treasures of coequal value (anticipated the “Common European House” idea by twenty years). 6. Is able to thrive in a very different environment, providing for a very heterogeneous urban population of towns and cities. A sophisticated form of “folklorism.” Certain negative societal developments served as an impetus to the genesis of the Dance House Movement. One crucial negative circumstance was that by the 1970s, traditional folk art and folk culture had all but disappeared in Hungary. This was a natural consequence of the sham ideology and forced urbanization which had totally altered the peasantry’s way of life. The peasantry ended up repudiating their own folk culture, and with this, cut short a tradition that had been handed down from generation to generation for centuries. Folk culture had become relegated to the status of a school subject, and folk art to an artistic style. By the 1970s, folklore and folk art were being snubbed as outlandish and passé. There was a total chaos as to values, which gave rise to yet another set of negative developments. Folk singing was made a compulsory part of the school curriculum; a child would either learn the folk songs the same way he learned algebra, or would come to hate them as something shoved down his throat—in neither case would he ever think of singing folk songs for his own pleasure. Instrumental folk music was something that simply no one taught. As for the classical music of the time, the best-case scenario was that folk motifs provided the composer with some basic raw material. Folk music in its original form was practically never played. When it came to folk dancing, it was much the same situation, the difference being that you could see folk dancing on stage; but they danced not folk dances, but a choreographed composite of various folk dance steps. It was at that point, when everyone believed that a total cultural vacuum had set in, that the newest wave of folk art movements stirred up the country. The first táncház was organized in Budapest by Ferenc Novák and the Bihari Dance Ensemble on May 6, 1972. The idea was to set up a members-only club modeled on the Transylvanian táncház, the membership being restricted to Budapest’s four best amateur folk dance ensembles. The next stage in the development of the movement was the two-year training course which the Hungarian Institute for Culture organized for musicians and dance instructors between 1976 and 1978. The result was an upsurge of táncház founding in the provincial towns, and several more were established in Budapest. From the late ’70s on, would-be dance house musicians and dance instructors received regular training, though only on the peripheries of the official educational system. More and more people attended the special workshops and summer camps - held primarily under the auspices of cultural centers and dance ensembles - and more and more of the students were Hungarians living abroad. It did not take long for the movement to cross state boundaries: dance houses were springing up in Romania, in what was then Czechoslovakia and Yugoslavia, in Germany and Switzerland, as well as overseas in Canada, the United States, and Australia. But it was not just Hungarians living abroad who were drawn to the táncház. People of all nationalities will be found among táncház musicians and dancers today. The Dance House Movement has become truly international. The Hungarian Heritage House is a national institution founded in 2001 with the purpose of preserving and promoting Hungarian folk tradition. The HHH is comprised of three units, each of which contributes to this aim in its own unique way. Founded in 1951, the Hungarian State Folk Ensemble is devoted to collecting the folklore treasury of the Carpathian Basin and presenting it on stage. The Ensemble's repertoire encompasses all genres related to folk tradition: historical music, authentic folk music and dance, as well as world music and traditional-based contemporary dance-shows. The "László Lajtha" Folklore Documentation Center aims to make the vast and precious collec-tion Hungarian folk treasury available to all who is interested in it. The Documentation Center is accessi-ble on-line as well as in hard copies at the Corvin tér seat of the HHH. The Applied Folk Arts Department organizes courses, conferences, dance houses and play-houses, as well as inviting applications, publishing music and dance CDs and DVDs and judging works of contemporary applied folk art. The Department is ready to cooperate with any cultural institutions wishing to get acquainted with Hungarian folk art, and welcomes individual enquiries as well.