Scenes from Budapest, Evening dances underground

«Danseurs en rond», aquarelle

As November draws to a close, wooden huts of motley wares mushroom across the squares of the city, giving shape to Christmas markets that will soon illuminate the darkness of Central European winters.

The wailing arabesques of fiddles cut through the late autumn air, surprise you at corners, mingle with the sweet aroma of roasted chestnuts. Night falls shortly after 4 o’clock, and all anyone would like to do after work is squirrel himself away in some cozy niche with warm company and mulled wine.

One such frosty evening, V took me down to the Gödör Klub on Erzsébet tér (management has since changed hands, and it is now called Akvárium), an underground pit in the middle of the city that hosts various nocturnal and cosmopolitan parties of music and dance. But that evening, Gödör had donned on the aura of one of Gogol’s country tales, becoming the “light burning somewhere at the end of the village as soon as evening comes on,” where “laughter and singing is heard in the distance, there is the twang of the balalaika and, at times, of the fiddle, talk and noise […] lads burst into the cottage with the fiddler, there is an uproar at once, fun begins, they set off dancing, and I could not tell you all the pranks that are played.”¹

In the dimness of candlelight and Christmas garlands, a music ensemble composed of contrabass, violins, the hurdy-gurdy, the zither, and the cimbalom, performed for a dance floor filled with men and women of all ages holding one other by the waist and shoulders, twirling madly about, now clockwise, now counter-clockwise. On the men were sleek polished leather boots that glinted softly and reached just below their knees and slim trousers topped with a billowing white shirt. On the women were flowing skirts that flared as they spun around, their heads tilted back, their eyes fixed on their partners.

The entire scene did not give one the impression of being too folkloric, but rather of something pulsing and vibrant, of a past woven seamlessly into the present.

When the couples’ dance had ended, the women parted to the edge of the floor and the men formed a circle to perform for the women a dance, the legényes from the Kalotaszeg region of Transylvania. The musicians took to their instruments and one by one, each of the men puffed into the circle, executing a series of improvised leg flourishes with his black leather boots, now tapping the ground with his heel and boot tip, now kicking the air and bending his knees to the melody of the fiddle. Like a marionette, he seemed to leap into the air in starts and spurts, his torso straight, his head level, with his limbs in autonomous animation. All the while, the women looked on sternly, amusingly, their hands on their hips, swaying also to the music, admiring, evaluating, reveling. How like life!

We took part in the next couple’s dance, but this part of the night with men in a circle, dancing, vying for the feminine gaze, was most memorable. I shall be sorry when I leave this city of underground dances whose folk roots flourish on modern dance floors.

¹ Nikolai Gogol, (Evenings in a Village near Dikanka, preface to Volume I, 1831)

A performance clip of a Kalotaszegi legényes

Spaces, places

Is it possible to imagine that this batik had its origins in a sleigh racing over snow through a frost-laced forest, tinkling bells to the music of Tchaikovsky? Bearing a happy couple bundled in furs, each peering from under their snug chapkas at the wondrous wintry kingdom fleeting by? Somewhere along the way, an elephant from Mughal India crept underneath my hand, and the snows melted away to reveal flowers of a tropical jungle.

But perhaps I have confused the beginnings of this balmy promenade with another dream, now that autumn is here once more, and winter is not far away.

The room is veiled in silence, folds of saris the colors of pandan leaves and conch shell lips. Tendrils of interwoven golden threads climb a trellis of emerald silk, glimmering dimly in crystal drops scattered about like morning dew. A young Tahitian woman’s gaze captured by Gauguin’s brush is reflected in the mirror. Her fragrance has wafted across oceans. Noa noa, a lovely word.

The door opens out into the morning air. A heavy fog the color of bones has enveloped the entire city. From the balcony, one can barely make out the jeweled dome of the Parliament on the other side of the river. A few minutes pass and Parliament disappears. And then go the two spirals of St Anne. And the cylinder that is Hotel Budapest. And the brick chimney of a hospital. The city is a paper screen, darkened now and again by the stroke of a wet brush, before reassuming its unblemished opacity. The city is a paper screen for my shadow theatre.

I’m floating in the Jugendstilbad, eyes lifted toward the vaulted ceiling and painted walls. As steadily as the fountain trickles, they expand and fall away, revealing the misty hills of Lake Garda. Waves lap gently against the wooden pier, where two young girls await the return of a pleasure boat. The boat is rocking like a cradle in the middle of Lake Balaton. A child bravely jumps into the water, buoyed by a bright orange life vest. Orange, the color of hope, like the coat of the royal Bengal tiger hiding under the boat’s tarpaulin, stranded at sea with a boy from Pondicherry. A bigger cousin of the feline now stretched up against the heater, its ginger coat rising and falling ever so softly.

Spaces, places confound, conspire, in the unfathomable depths of an autumn canvas.

A Romantic Idea of Village and Country Life

«Romantic village life» 2012

In the winter, you could see its fairytale tower puffing out a ribbon of smoke from its little chimney. The last leaves fallen away from the surrounding trees, its faux half-timber façade stood visible upon a mound further up the street. It was the one house that appealed most to the romantic idea of a provincial life.

Some abodes in the village have wooden shutters painted pastel, not common in these parts; still others have rounded rosy roofs or roofs that slope steeply downward and then gently flare with charm; but this is no Rothenburg ob der Tauber, and the vast majority of homes here are an unremarkable collection of modern-day constructions one can find in any German suburbia.

So when evening falls, and the meadow is enveloped in shadow, I can peer out the window at the tower’s moonlit silhouette, and life in a village takes on sweet and poetic notes, like horses grazing under apple trees, like yoga in a farmhouse, like a one-track train station platform, like the only café in the village that doubles as tailor’s and delivery service and closes shop at noon on Saturdays. Like the bird sanctuary trail winding along the hill, the ringing church bells, the stream running behind the village hall.

But I won’t shed a tear leaving. That isn’t to say I have given up entirely on village life. Some villages have grannies who sit on public benches on the main square watching the world go by. Some have a warm summer street where all the dogs go for siestas. Some have cottages with bunches of hanging herbs. Some have old stone walls covered in brier. This village had none of those. Something important was lacking, but I won’t wait to find out what.

Onwards with the tramontane life and spring cleaning.

Spring alights on my shoulder

«Yumeji's camellias» batik 2011

After a winter that was not really winter, a flurry of snow one day or two, green is timidly burgeoning, the smell of fresh grass in the air, the warble of thrush in the hedges.

Proljeće na moje rame slijeće
Đurđevak zeleni

Spring alights on my shoulder
Lily of the Valley is flowering

We had fun imagining ourselves traversing a Siberian winter, shut up in the living room in the after hours, poring over tales of provincial life in a village near Dikanka. One misty morning, we ventured out for a stroll, reaching the great clearing that gave Lichtwiese its name, Meadow of Light. From the other end of the mud path, a man with silvery hair approached on his rickety bicycle. We inquired about the way. He put one foot down, pulled out his handkerchief and dabbed his nose, then pointed us down the road he came. But before he set off, he made a sweeping motion with his hand towards the clearing, and asked us whether we knew the poem by Matthias Claudius. “It was at this very spot that he was inspired to compose it.” Before we had time to answer, he recited this poem:

Der Mond ist aufgegangen,
die goldnen Sternlein prangen
am Himmel hell und klar;
der Wald steht schwarz und schweiget,
und aus den Wiesen steiget
der weiße Nebel wunderbar.

Wie ist die Welt so stille
und in der Dämmrung Hülle
so traulich und so hold!
Als eine stille Kammer,
wo ihr des Tages Jammer
verschlafen und vergessen sollt.

Seht ihr den Mond dort stehen?
Er ist nur halb zu sehen
und ist doch rund und schön!
So sind wohl manche Sachen,
die wir getrost belachen,
weil unsre Augen sie nicht sehn.

Wir stolze Menschenkinder
sind eitel arme Sünder
und wissen gar nicht viel;
wir spinnen Luftgespinste
und suchen viele Künste
und kommen weiter von dem Ziel


— Matthias Claudius,
Abendlied (1778)

The moon has slowly risen,
The golden starlets glisten
In the heavens, bright and clear;
The forest stands dark and silent
And from the meadow rises
A white mist most wonderful

How still is the world,
And in the veil of twilight
So intimate, so fair!
As if it were a quiet chamber,
Where the sorrows of the days
Shall be forgot and slept away

Do you see the moon up there?
There is only half of it to see,
And yet it is round and fair.
So it is with many things
That we laugh at with good cheer
For our eyes see them not.

We proud human beings
Are only poor sinners
And ignorant too;
We spin webs of air
Casting about for many an art
Moving further away from the mark

«Lichtwiese» March 2012