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SUMMARY

Inspired by the success of its production, Our Love, Kalotaszeg, the Danube Art Ensemble chose again to focus on the folk art of a single region, this time the Mezőség (Câmpia Transilvaniei) in Transylvania. The dance and music of the Mezőség is highly prized by those who love folk art, and the region has attracted countless amateur and professional collectors. Béla Bartók, Zoltán Kodály, László Lajtha, Károly Kós, Zoltán Kallós, György Martin, Sándor Tímár and Ferenc Novák are the most important of the many researchers whose work has saved the folk art of the Mezőség from oblivion.

The Mezőség is home to some 300 Hungarian, Romanian and Transylvanian Saxon settlements, and its archaic but rich culture of dance and music is the result of the combined effect of several factors. This region of Central Transylvania has preserved the Transylvanian Renaissance and Baroque heritage the most extensively, and by developing this legacy, it has developed a unique new Transylvanian style of dance and music. The Hungarian style that emerged later, and other alien, urban influences reached the Mezőség only late. It was here that the intertwining and interaction of Hungarian, Romanian, Romany and Saxon cultures increased the richness of the treasure of Transylvanian dance and music. As a result of the constant exchange of dances and dance songs, the boundaries of Hungarian and Romanian characteristics are completely blurred in the Mezőség, and a real musical and dance bilingualism prevails. The slight differences between what were communities with different legal statuses add further nuance to the overall picture. The Danube Art Ensemble’s production is focused around this multiculturalism. “We want to show our feelings, our love for the region, its beauties. It is a multicultural area with Hungarians, Romanians and Romany –we are trying to put on stage this exciting coexistence,” said the director, Zsolt Juhász.

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Founded in 1957, the Danube Art Ensemble comprises a 24-strong dance corps and a folk band with five musicians. The Göncöl Band, which provides the musical accompaniment, also gives concerts of its own, with programmes based mostly on authentic folk music. The Danube Art Ensemble considers it a chief goal to arouse interest in folk dance among a wide range of audiences, to break down stereotypes about the genre, and to make viewers aware of its versatility and expressive power. Its creators believe that folk dance is very well suited to representing emotions and values, even complex stories. Accordingly, the company seeks to interpret the Hungarian folk dance tradition in a manner that is equally authentic, open-minded and attractive, creating productions that both preserve the tradition and are artistically experimental. They hope to bring those who are interested in folk dance closer to theatre and make those who go to theatre take an interest in folk dance.

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