Agence meeting couple, 7. Reception of Nineteenth-Century Couple Dances in Hungary


The fact that research on social dances in Hungary has focused on the older forms makes this difficult. Round dances were mostly seen as too new and too foreign to be deemed worthy of documentation and research.

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The task therefore remains to identify them among the agence meeting couple forms practised in Hungary and to contextualise them in the socio-cultural and political circumstances of the first half of the nineteenth century.

Moreover, only a small amount of this material has been published in languages other than Hungarian. In order to achieve the task, we have set agence meeting couple, a selected corpus of the most important sources is presented here in the form of an annotated catalogue. This catalogue aims to demonstrate the variability and richness of the relevant sources, but also serves as a reference for the last part of this chapter, which discusses issues of reception, the rivalry between Hungarian and foreign dances, and the cultural climate in that context.

The rise of a Hungarian counterpart to the foreign round dances is one of the main conclusions. The catalogue material is mainly selected from existing literature about this topic in Hungary, supplemented with results produced by the present ismerkedés healbad heiligenstadt. On the one hand, we will see that the Csárdás does not fall entirely within the definition of round dances.

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On the other hand, it was clearly inspired by them, making it a national replacement. At the outset of the nineteenth century, the repertory of dances practised in Hungary was extraordinarily diverse, reflecting the multiplicity of ethnic groups and socio-cultural conditions of the country.

Soldier dances, as a multi-ethnic phenomenon inherited from the eighteenth century, were gradually fading from the repertoire. Women singing as an accompaniment to round dances among Hungarians were rarely mentioned by the sources, and researchers paid little attention to them. See Musical Source No. This process was hastened by the fact that the practise of traditional dance types was not limited to particular ethnic groups or countries.

The spread of dances and melodies was likely a result of factors like migration, common service in the imperial army, extensive family relations agence meeting couple seasonal work by rural people in distant provinces. They were made by foreign and Hungarian authors alike, but the only detailed description, from which we can reconstruct the dance, was published by Kilányi in Hungarian and in German, in his reference book Körtánc.

As such, they enjoyed only temporary fame. To a lesser extent, Csárdás as a Hungarian national dance with a social dance function was also integrated into this group of nineteenth-century couple dances. Generally, the choreographies had a fantasy name e. Devil Dance, Highwayman Dance, Turkish Groupbut it was also popular to name them after their form, or profession, or nationality. Among them, we can define some dance types that are partly of German, partly of Slavic Polish-Czech and partly of French origin, and show the characteristic features of the nineteenth-century couple dances listed in the Introduction to this volume Keresés nő sully- sur- loire following part of this chapter focuses on these dances in particular.

agence meeting couple nő férfi találkozó fogad

We introduce the results of the research in Hungary so far, and provide a selection of the most relevant sources. Translation from the Hungarian by László Felföldi. I imagine the dances of Hungarians as a tree, the trunk of which álom flörtölni egy nővel constituted by the folk dances, that is the ancient, original way of their dancing. Besides, we may find dances which grow beside the tree, neither coming from it, nor being merged into it.

I cannot omit either of them from agence meeting couple book, because historical data prove that they became fashionable among Hungarians, although their character could not become Hungarian. The nineteenth-century couple dances are represented by twelve items of data.

Four egyetlen chemnitz zwickau them date back to the end of the eighteenth century and the hajtott megtalálásában partnert az interneten to the first decades of the nineteenth.

Additionally, he supplemented the historical data with valuable ethnographic information about the spreading of these dances among the peasantry in Hungary during the second half of the nineteenth century.

As a result, these parts of his book became more complex and scholarly than any other previous writing on this topic. However, we have to take into consideration that Réthei was himself biased by the ideas of nineteenth-century patriots — the authors of these sources — and his book was also dedicated to this issue.

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Texte intégral

Agence meeting couple for the music of these dances, historian Bence Szabolcsi has contributed substantially to the research on this topic. Published init provides more than one hundred historical sources texts, pictures, musical notes about Csárdás, which has a similar history to the nineteenth-century couple dances and in some sense belongs to the same class as these.

Due to the nature of the historical sources, the book constitutes a treasure trove of evidence about nineteenth-century couple dances as well. Olga Szentpál focused on Csárdás. She did not place special emphasis on the study of the Waltz, the Polka, and the others, but she did collect material that proved to be useful for further research.

The scientific reconstruction based on these two dances was published in Táncművészeti Értesítő [Bulletin of the Dance Arts] in Reconstructions contributed to the precision of the formal-structural features of these dances. Her comprehensive articles address the history of European and Hungarian dance teaching as a craft from the fifteenth to the twentieth century.

They give a wide panorama of the topic, with numerous interesting details contextualised in the political, social and cultural situation of the period. Among others, Ernő Pesovár dealt with social dances also from the nineteenth century and their affinity to or isolation from the couple dances practised in Hungary.

In his classification, Martin created a special category for them, beyond the old and new stylistic layers. The criterion belonging to agence meeting couple stylistic layer is not simply their obvious foreign provenance, but the limited degrees of their assimilation, folklorisation and spreading.

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These dances preserved their original form, and music of their own. Their style is totally different from that of our old- and new-style dances. Pálfy György, dance historian and writer of ten to fifteen entries on the Waltz, the Polka, the Mazurka, the Galop, the Ecossaise, and the Cotillion, used the available international and Hungarian literature, though unfortunately without detailed references.

Other professional lexicons Balett lexikon, Magyar táncművészeti lexikon 30 published in the twentieth century paid less attention to these dance forms, except for the Ethnographic Lexicon.

They give relatively detailed information about their history and ethnographic features spreading, social function in the local communities, activity of dance masters etc in Hungary.

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The hundred or so documents discovered and published so far one third from between — and the scientific knowledge accumulated in these books and articles may be a good basis for this. Selected and Annotated Source Catalogue 24The next passage contains documents representing the most characteristic types, and thematic groups, of sources about nineteenth-century férfi keres nőt svájcban dances.

Iconographic material, like engravings of dance events or portrayals of the Waltz, the Polka, the Mazurka, or the Quadrille on, for example, the front page of the printed musical scores, is not so widespread, but this makes it all the more interesting to researchers.

There is also a collection of musical scores, both with and without text. The written sources and the titles of other kinds of documents were translated by the author. A táncok többnyire álla keringésből The dances consisted mostly of whirling, forgószél port mint hajt, olyan tekergésből, like a whirlwind driving dust, gondoltam: virradtig sok meghal ezekből, Agence meeting couple thought: they would die at dawn, Guta következik a fej-szédülésből.

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Izzadt vólt; mondotta, mindjárt vesz más inget. He sweated so heavily, that he had to úgy is tett, hogy éppen csúf táncnak vége lett.

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Mert egyszer, keringős hogy lett ökröm, annak Once my ox was ill, it was whirling szint ilyen tánca vólt, mint itten forganak, like the people are whirling here. Voltzen kallót tészen, s természete ennek Valzen means wool mill, which szűntelen forgani, mint malomkeréknek, turns endlessly like a mill-wheel. Namely, it is Kalló-tánc, where they turn. I have never danced, mint a bódúlt marha, nem is agence meeting couple like a dazed cattle; I have not been whirling.

Ha agence meeting couple, tehát igaz táncot tettem, If I ever danced, I did a real dance, melyből a fejembe szédűlést nem vettem.

His work first published in is a good example of the initial reception the new fashionable dance — Voltseris Hungarian pronunciation: Valtserish — received when it came from Vienna. He evaluates the Valceris from the perspective of a village man having his first experience of it in the town. He characterises it with vulgar words and describes it in an ironic way. The dancers, among them his son, are portrayed in similar tone.

In addition, he gives a detailed, realistic description társkereső oldalak csatorna the ballroom, the dancers and their dresses. Nézd a tánc nemeit, mint festik játszi ecsettel Perceive the various dances, how they mirror, with playful brush, A népek lelkét s nemezetek ízleteit. A német hármas lépéssel lejtve kering le, The German is whirling with triple steps S párját karja közé zárja s lebegve viszi.

He embraces his csádi lány találkozó and carries her as if floating. Egyszerű a német mindenben, s csendesen örvend, The German is simple in everything, having fun silently, Egyet ölel mindig, s állhatatos szerető.

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He always embraces the same women and is a faithful lover. A gallus fellengve szökik, s enyelegve kacsingat, The Gallic jumps high-flown with flirting winks, Párt vált, csalfa kezet majd ide, majd oda nyújt: He changes partner, with deceitful hands here and there: Ez heves és virgonc, örömében gyermeki nyájas He is passionate and agile, delighted at everything, like a child.

He flatters in high spirits, and he is a pirate in love. A magyar egy Pindár: valamerre ragadja negéde, The Hungarian is a Pindar: when his enthusiasm takes him Lelkesedett tűzzel nyomja ki indulatit.

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His feelings burn like fire. Majd lebegő szellő, szerelemre olvad epedve, Then he melts into longing for love, like a soft breeze S buja hevét kényes mozdulatokba szövi; And he weaves his enthusiasm into delicate movements.

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Jumping among the dead bodies together with his heroes. Titkos törvényit mesterség nem szedi rendbe, Its secret rules are not tamed by dance masters, Csak maga szab törvényt, s lelkesedése határt.

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Only the dancer creates rules, and his enthusiasm inscribes limits. Ember az ki magyar tánchoz jól terme, örüljön! He, who agence meeting couple talent for Hungarian dance, let him be glad! Férfierő s lelkes szikra hevíti erét. His blood is filled with manliness and sparks of zeal. Pál Kinizsi ? His aim in this poem is to depict and emphasise differences in the characteristic features of German, French and Hungarian ways of dancing. He intended to show how dances harmonise with the national character of different peoples.

French people were famous for their Quadrille, contra dance, Galop, and Cotillion, executed in a passionate, agile and delightful way as regulated, collective couple dances. The Hungarian way of dancing is represented as a free, unregulated solo male and couple dance with high emotions in a rapturous mood. It was known as the national dance of Hungarians inside and outside Hungary.

By mentioning Pindaros Pindar in the poemthe Greek poet c. Mit csinálsz Zsiga! It is becoming more and more evident that practising the customs of the foreign nations, without a doubt, harms a nation; and only that nation seems to be immaculate, whose language, costume, law and customs are most different from the others. We may experience it in the case of our youngsters who subscribe to mazur-mania, whose national mark has almost already disappeared.

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I looked at agence meeting couple landlord of the village inquiringly. He frowned, and gave twenty forints to the primate for telling the truth.

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Moreover, he presented fifty forints to the participants of the wedding, and at last we left the place meditating on what the peasants were agence meeting couple, and who can be blamed for it. His article, published in the Tudományos Gyüjtemény Scientific Collection, a monthly periodical published between andis a kind of polemic essay about the problems with the Hungarian national dance.

As we can agence meeting couple from the above quotation, agence meeting couple was of the opinion that Hungarians ought to regulate their national dance after the model of the other nations in Europe. He raises the question of the responsibility of the national elite for the increasing decline of their traditional dances among the peasant communities, in favour of the foreign, fashionable dances. Man schreitet nicht in regelmässigen, abgezirkelten Schritten, eins, zwei, drei und vier, auf und nieder wie im Menuett, es ist nich das monotone Drehdichum des Walzers, es ist ein freier, durch irgend eine Idee belebter Tanz.

Die Leute macht nie agence meeting couple Gesichter als da sie Menuet Tanzen oder walzen, und das ist natürlich: Mann siecht nie belebtere, geistvollere Menschenäntliche, als im ungarischen Tanze, und das it wieder ganz natürlich, denn der ungarische Tanz ist Poesie, der Walzer, Das Menuett sind mechanische Gewerbe.

Der Mechaniker kann ein Automat machen, welches vortrefflich Menuet tanzt und übertrefflich walzt, aber er kann keines machen, welches ungarisch tanzt, oder eine Arie komponirt […] Das Minenspiel solcher ungarisher Tänzer is eben so admirable als das Spiel ihrer Füsse. This is not regulated, reserved stepping: one, two, three and four, up and down, as in the Minuet, and not incessant turning like the Waltz; this is a free dance in which an idea is living.

People do agence meeting couple make such silly faces as they do when dancing the Minuet or the Waltz, and this is self-evident. Faces are never and nowhere so vivid and enthusiastic as in the Hungarian dance, and this also obvious, because the Hungarian dance is poetry; the Waltz and the Minuet are mechanical products. An engineer is able to make a robot that dances the Minuet and the Waltz in a splendid way, but he cannot make one for the Hungarian dance and cannot compose such music.

He paid special attention to dances, and agence meeting couple the theatrical life of Hungary. He appreciated the freedom and poetic quality of Hungarian dance, in contrast to the regulatedness and mechanic features of the Menuett and the Walzer.

Some other foreign travellers who noticed the distinctiveness of Hungarian dances include George Johann Kohl —a German geographer; 37 Arthur Patterson —an English writer and teacher of the English language; 38 Victor Tissot —a French writer of Swiss origin; 39 Margaret Fletcher —an English writer and religious activist; 40 and, finally, Albert Czerwinski, a dance historian who also witnessed dances when he happened to be in Hungary, and wrote about them in the same style as Ellrich and the others.

S tapasztaljuk, hogy azokkal fogy a barátság, mert agence meeting couple táncainkat elfeledtük; az idegent pedig nem szeretjük, s megszűnt muzsikánk. Ez pedig a görögöknél nagy szó vala, s annyit tett, mint a legfőbb oskolának — a társalkodásnak romlása. Our dances are so purposive that we make ourselves master them throughout all agence meeting couple our youth; and because of the aesthetic nature of our dances, they are so good for us that they become our passion, and with that comes the motivation to make friendships agence meeting couple good relationships with others.

Now we realise that good relations are coming to an end, because we have forgotten our dances; we do not like the foreign ones; our music has disappeared. And this was a significant word for the Greeks, and it meant the destruction of the supreme school — the social life. Count István Széchenyi —a landowner, politician, and outstanding figure of the political and cultural life in Hungary, was an expert on the economy and finance. However, as an educated aristocrat and patriot, his field of interests also covered literature, philosophy, and several socio-cultural questions as well.

Dániel Berzsenyi — was a poet and writer dealing with the Harmony thesis of the classical Greek philosophers, and he intended to apply this to the fields of the Hungarian language and literature, music, and dance. In his opinion, in the world of arts, the only constant component is Harmony, regardless of whether the artistic piece is the product of Classicism, Romanticism or something else.

Agence meeting couple letter to Széchenyi reflects this mentality.

agence meeting couple tudom férfiak 35

Azonban nemzeti társastáncunk szabályozása csak olly feltételek alatt engedhető meg, ha az által eredeti sajátosságából, egyszerű szépségéből legkissebet sem veszt, s holmi feszes, cifra torzfigurákkal el nem rontatik, agence meeting couple ellenkezőleg, ha könnyű hajlékony természeténél fogva, a szábályzó által oly széppé alakíttatik, hogy művészi becsben valamennyi társastánczot felülmúlja. How interesting, for example, to discover the passionate, easy, gentle and polite nature of the French in the Quadrille; the lamb-like temperament and tedious, tiresome but aimless life of the Germans in the Walzer; the fury of Italians in the Tarantella; the constant burning enthusiasm of the Polish people in the Mazur; the cheerful nature of the nice Greek women; or the exalted piety of the Hindu people in the lively movements of the bayadères, who szabadság célokat egyetlen ember forced to come to Europe.

At any rate, the latter should be chosen, because mere naturalness might be nice in itself, but artistic naturalness is even more beautiful.

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Regulation of our national social dance could be permitted only under conditions which do not deprive it of even the smallest part of its original features and simple beauty, and if it is not spoiled with strange, deformed figures; on the contrary though, it might also be spoiled if the regulator, knowing its easy, flexible character, makes it so excessively beautiful that it surpasses all the other social dances in artistic qualities.

He published his polemic writing on the matter of national dances, music and costume in the Athenaeum, the most influential periodical of political opposition that was active between and It was the mouthpiece of the urban middle-class people who had characteristic national anti-Habsburg feelings, and criticised the ideas of the aristocrats.

His ideas became very popular for almost a decade, and inspired the Hungarian dance, musicians and other members of the egyetlen lakás gescher elite to create art in this spirit. Patterson 37Arthur J. Since the agence meeting couple taken up by the Viennese Government after the revolutionary war drove the greater part of the Hungarian aristocracy into opposition to the court, this dance has been admitted into the balls of the haute voleé in Pest.

But like other European aristocracies, the Hungarian is too denationalised and too self-conscious to surrender itself wholly to the enthusiasm which is the soul of this dance.

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Well as the countesses and baronesses dance, one misses, in their csárdás, the abandon of the wives and daughters of their stewards and attorneys. In some of the principal balls of the Carnival at Pest, where the csárdás alternates with dances of more European celebrity, two bands are provided, one of Bohemians, the other of gypsies. Patterson — was a writer, university professor and correspondent for several British journals and newspapers.

Between and he stayed in Hungary and collected material for his book The Magyars, published in in London. This short passage from the detailed description of the Csárdás shows that he paid much attention to the socio-political and ethnic relations of the country.