Contemporary dance and contemporary theatre should not speak only to a certain class, or be performed in just one way: for more than two decades, this has been the mission of the Yvette Bozsik Company. In the same spirit, the company’s repertoire is characterised by diversity of genre, innovation and continuous renewal. Which is why it is a huge pleasure for me to have supported their work from the very start.
More than ten years ago, Éva Magyar received an opportunity to produce her dance theatre-piece Mrozek: The Party in London. The performance was a significant milestone in Éva’s international career. Since then, Éva has performed in the Royal Shakespeare Company, and at the Globe Theatre, the National Theatre in London and countless other venues, not to mention in films, too. I am extremely proud that I was able to help make ‘The Party’ a reality.
We offer children an opportunity, and show them that this type of music exists, too. Even if they don’t listen to classical music in the future, they still know where to turn. Music is a refuge from everything.” This is how Ágnes Komor, the engine behind this initiative, summarises the mission of the Young Friends of the Opera Circle. I am delighted to support the realisation of this endeavour.
Mária Horváth’s career as a vocal soloist began after many years of performing chamber music. Her repertoire is extraordinarily rich, covering every style from Gregorian chanting to contemporary music. Her album ‘Alleluja’ (Hallelujah) is her first solo record. Mária has a truly unique voice, and I hope as many people as possible enjoying listening to it on a regular basis.
“A CD recording seizes a series of musical moments – something is captured, yet it is not complete. I had never played these pieces in this way before, and I will never play them in this way again.” This is how Laurie Kaszás Sogawa describes her shakuhachi concert recordings for the album ‘A nyugatról, keletre’ (From the West, to the East). I have always been excited by impossible missions – not to mention seizing the moment – which is why I decided to support this artist’s undertaking. The CD was donated free of charge to all public libraries in Hungary with music collections.
I encountered the shakuhachi – that ancient Japanese instrument – for the first time during my studies with Kashima Sensei. I decided that it was essential for people in Hungary to become familiar with the shakuhachi and its culture. I wanted to create a programme that offered both knowledge and a memorable experience.
This led to a training course that enabled 20 Liszt Academy students to get to know the instrument. As part of the programme, books, sheet music, 20 practice instruments and technical equipment were added to the Liszt Academy’s library. The wider public also had the chance to encounter this wonderful instrument during a concert held at the Liszt Academy.
When it came to realising this concept, I was ably assisted by the Liszt Academy, which hosted the course, and the Japanese Foundation, which supported my idea from the beginning.
The choice of the name Sámánszínház (Shaman Theatre) represents the belief that that in today’s theatre art, a thought-provoking and even healing form of expression can be created using ancient ritual elements, music, dance and images. The peculiarity and challenge of this form of expression is that it directly affects the instincts. In this way, it shows us something universally human that connects us and that bypasses the spoken language: it is understandable to everyone, regardless of nationality or mother tongue.
“Butoh is a free, personal and individual development process, during which we have to break with traditions and habits in order to look behind them and find something new. Dance is a journey between joy and pain.” This is how Rita Bata, the Hungarian ambassador of the genre, aptly put it at the Butoh Festival, which she organised. This is both the very least and the very most that a dance performance can offer.
International multicultural festivals like Sziget reinforce people’s belief that when it comes to contemporary dance, Hungary is not in a bad place: we are certainly not lagging behind either in terms of originality, level, or performance style. At this festival, the organisers see it as their mission to introduce contemporary performing arts to those young people who have not attended such performances during the year. I am happy to have supported them in making this mission come true.
Az ilyen nemzetközi multikulturális fesztiválok, mint a Sziget, megerősítik az embert abban a hitében, hogy a kortárs tánc tekintetében mi sem állunk olyan rosszul, nem vagyunk lemaradva sem eredetiségben, sem színvonalban, sem előadásmódban. A szervezők missziónak tekintik e fesztiválon a kortárs előadó-művészet megismertetését azokkal a fiatalokkal, akik év közben eddig nem látogattak ilyen jellegű előadásokat. Szívesen támogattam őket e misszió valóra váltásában.
Hippocrates once said that “There are in fact two things: science and opinion; the former begets knowledge, the latter ignorance.” Which is why it’s important to me that scientific findings reach as many people as possible.
The phenomenological approach and its methods, which placed abstract philosophical thinking on a strict empirical basis, enabled the reinterpretation of the philosophical tradition. The experience-centeredness of phenomenology provided a way to create an intimate relationship between philosophising, scientific activity and everyday life. The goal of the Hungarian Phenomenological Association is to promote the education and research of phenomenology in Hungarian, and to popularise and spread phenomenological philosophy in Hungarian. I have gladly supported their endeavors.
The aim of the editors of the journal Aspecto is to boost Hungarian philosophical life, bring philosophy out of academic isolation, and create the fertile environment that is vital for thinking. I believe that every Hungarian thinker, regardless of their education, needs this, and must have it.
Oriental studies is primarily an international science, and the vast majority of articles are published in world languages. Hungary, however, has also had a strong tradition of publishing research findings in Hungarian since the 19th century. As dedicated researchers of Oriental studies, the editors of Függőkert contribute to the maintenance of this tradition through their work.
The skerry cruiser 30 is a true Balaton classic, rightly called the Queen of Balaton. Kabala, built in 1933, was the third ship of the ship class to enter the waters of Lake Balaton. Today, there are approximately twenty Skerry cruiser 30s sailing on Lake Balaton. As an amateur yachtsman, it was a particularly memorable experience to follow and support the renewal of one of the queens of the lake.
“To dare is to do”, as they say. This could certainly be the motto of the two young people – Viktória Rakonczay and Gábor Rakonczay – who undertook to row across the Atlantic Ocean with their boat “Tűzhangya”, or ‘Fire Ant’, which they designed and built themselves. In the end, in Hungarian colours they became the first to cover the 5,233 km distance in 51 days (instead of the originally planned 60-70 days), setting a world record. I was delighted to support the realisation of this couple’s dream.