Old traditions - New practices: The Intangible Cultural Heritage of Traditional Hungarian Folk Singing in Present Day Urban Hungary

Traditional Hungarian folk singing in contemporary urban society Hungary underwent vast and radical changes during the turmoil of the 20th century, which have lead, among other things, to both the decline in the practice of traditional folk culture as well as subsequent waves of folklore revivals. These revivals have alternately stemmed from, and led to, research and documentation in the field of intangible cultural heritage both within and beyond the current borders of Hungary, reaching far into secluded rural areas where folk tradition has seamlessly persisted. These revival movements have become an integral part of Hungarian history and identity, and have borne a great influence upon the current forms in which these traditions are practiced and presented today. This research investigates how safeguarding efforts called into action as a way to ward off the destructive measures of modernization, globalization, and the Communist-era push for urbanization, have ignited a process of artistic legitimation of folk culture, influencing the form the singing of traditional folk songs take in contemporary urban Budapest. Taking the interdisciplinary approach of combining heritage studies with cultural theory the thesis aims to answer the research question: ‘To what extent has the authentic practice of traditional Hungarian folk singing become a legitimized performing art in modern day urban Hungary?’ In answering this question the thesis analyzes the contemporary field of folk singing. It demonstrates the emergence of authenticity as a field of restricted production and accordingly analyzes its boundaries, criteria for production and evaluation of its cultural product and the autonomy of this field. The analysis hopes to highlight certain specificities of the modern day performing art, which originate from the art forms heritage status. Key concepts investigated include authenticity definitions, safeguarding, artistic professionalization, field boundaries and the conventions of production and evaluation of traditional folk singing as a performing art. Literature on the most formative revival movement shaping current practices, the Táncház (Dance-house) movement, serves as a foundation for legitimation. Fourteen semi-structured interviews, with traditional Hungarian singers, revival artists, provide the backbone of the analysis of the modern day traditional folk singing field.