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Local FusionsFolk Music Experiments in Central Europe at the Millennium$
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Barbara Rose Lange

Print publication date: 2018

Print ISBN-13: 9780190245368

Published to Oxford Scholarship Online: July 2018

DOI: 10.1093/oso/9780190245368.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 January 2021

“Good Old Days”: Critiques of Masculinity in the Hungarian Folk Revival

“Good Old Days”: Critiques of Masculinity in the Hungarian Folk Revival

Chapter:
(p.19) 1 “Good Old Days”: Critiques of Masculinity in the Hungarian Folk Revival
Source:
Local Fusions
Author(s):

Barbara Rose Lange

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190245368.003.0002

Chapter 1 explores how musicians and dancers in the Hungarian folk revival have reflected on the social costs of masculinity in Hungary. It describes how in the 1990s and 2000s, Central European men were in crisis, as multiple conflicting masculinities emerged. The chapter explains how contradictions of masculinity already present in the region’s history and society had unfolded in the Hungarian folk revival of the 1970s. The chapter details how at the turn of the new millennium, Hungarian artists used folk music and dance to reflect on themselves as men. It details how some of these artists acted to change social pressures on men, focusing on two projects that critiqued Hungarian masculinity: Ferenc Kiss’s concept album Nagyvárosi bujdosók (Outlaws of the city) and Szabolcs Gombai’s dance piece A férfi tánca (Dance of a man).

Keywords:   masculinity, masculinities, folk revival, World War II, dance house, táncház, communism, Hungary, dance, ethnojazz

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