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| I'm reporting from inside the hallowed halls of Hamilton Place in downtown Hamilton, Canada. I�m attending a multimedia extravaganza known as �Gypsy Spirit � Journey of the Roma�. Tracing the migration of Gypsies from their roots in Northern India to Central Europe, this particular production started touring in early 2004, in Berkeley, California, and continues its trek throughout the United States, following the highly popular �Cs�rd�s � The Tango of the East� production in 2000. Along with a second Canadian stopover at Toronto�s prestigious Roy Thomson Hall, Hamilton was included in the tour because of the large contingent of Hungarian descendants who have settled in this rustic, much-maligned and poverty-stricken port that comprises one-third of the otherwise-prosperous �Golden Triangle� of Southern Ontario. Judging by the conversations around me, they are widely represented in this animated audience of several hundred people, from the very young to the very old. Clearly enraptured by the delightfully dizzying blend of several rapidly-played violins, a cimbalon, accordion, trumpet, clarinet, acoustic bass and hand-held drums, they are not shy to clap and hoot, while helplessly fidgeting in these cushioned but restrictive seats. The music is being performed and directed by K�lm�n Balogh�s Gypsy Cimbalon Band, while the legendary, state-approved Budapest Dance Ensemble of Hungary is now under the acclaimed choreography of Zolt�n Zsur�fski, both of whom incorporate traditional and progressively improvised elements in their work. All of the permanent members of the troupe live in Hungary, while the guest musicians reside in Romania and Bulgaria. The medieval cimbalon, a type of dulcimer, is mounted on a stand and consists of a shallow closed box of wood, with wires stretched across the surface. These wires are struck with two wooden hammers, but, like the zither, they can also be plucked manually. Both methods of play are being employed this evening, providing a pleasantly resonating chime, offsetting the occasionally piercing shriek of the higher-pitched violins. The various regional wardrobes of the female dancers consist of modest but colourful floor-length flared dresses, covered with aprons, while the male dancers are suited in mostly white button-down shirts, vests and black fedora hats. In the nightclub �jam� scenario, both men and women sport bandanas on their heads, with scarves tied sassily at the side of their waist, covering delicate silk and satin trousers. Their exuberant dances, dominated by the men, are characterized by a manic but ritualized frenzy of gyrating hips, hands slapping their arms and legs with a military precision, high-kicking calves flung askew, with intermittent stomping of the feet. Background videos narrate the reverence with which Gypsies embrace their mythology of once being errant birds that were stripped of their wings, leading to an endless journey on foot to regain them. This theme is captured spectacularly in a song called �The Lark�. Their survival skills and close relationship with nature are embodied in the �R�kat�nc� or �Dance of the Fox�. While Gypsy culture originates from poverty and oppression, it is high time for these freedom-lovers to be recognized and appreciated for their spontaneous expressions of creativity and musical virtuosity within the higher echelons of society. D.M. Wells April 2004 |
| "GYPSY SPIRIT - JOURNEY OF THE ROMA" - HAMILTON PLACE |