By Panni De Cheke Qualls
For Ines Arcagni and Andres (Andy) Ciechomski, Hungarian folk dance is much more than just learning the steps—it is a way of sustaining a cultural community across continents. Both dancers are members of the Regös Folk Dance Ensemble in Buenos Aires, Argentina. While their entry points into the culture differed, their passion united them.
Arcagni discovered her love for dance at the age of 17. For her, there is a unique connection generated through the movements, whether in a couples’ dance or a karikázó. She believes that “in dance, souls converse.”
Ciechomski, despite living just blocks from the Hungarian Association of Buenos Aires for most of his life, had no direct connection until a friend introduced him to the club’s activities. His journey into dance began spontaneously after witnessing a captivating táncház at a Christmas fair. Through this, he found not only a passion for dance but also a strong community and international friendships.
Their individual journeys converge in their shared affinity for the dances of the Kalotaszeg region. Arcagni and Ciechomski both appreciate the beautiful, distinct style of the local Román dances and the high energy of the Mezőköpeny, particularly favoring routines where partners remain connected throughout. For Ciechomski, the appeal also extends deep into the music itself; he is captivated by the region’s complex rhythmic interplay, tempo changes, and syncopation, holding a special appreciation for the driving, fundamental role of the nagybőgő (double bass) in the ensemble.
This past summer, their dedication took them across the Atlantic to the Hungarian Dance University (MTE) in Budapest for an intensive summer course designed specifically for the diaspora. Their mission was to transition from passionate dancers to capable community leaders who could actively support their ensembles’ long-term growth.
Breaking the Dependency Cycle
In South America, maintaining a Hungarian folk dance ensemble comes with distinct geographic and logistical hurdles. For years, diasporas have leaned heavily on the Kőrösi Csoma Sándor (KCSP) program, an invaluable initiative that sends trained teachers from Hungary to overseas communities. Both dancers acknowledge the highly positive impact this program has had on cultural development.
However, they also recognize the vulnerabilities it creates. “The availability of scholars specialized in folk dance is not always guaranteed, which can hinder the continuity of some projects,” explains Arcagni. Ciechomski echoes this sentiment, noting that relying exclusively on a scholarship recipient presents challenges, and that true sustainability requires developing leaders within their own communities. Fortunately, recent advancements in documenting and compiling folk materials have given these groups more resources to learn, study, and independently develop their repertoire.
Their participation at MTE was driven by a need to bring practical tools back to Argentina and Uruguay to relieve the handful of individuals who typically shoulder their ensemble’s organizational burdens. “In diaspora communities, many responsibilities often fall on a small group of people,” Ciechomski notes, emphasizing the need to train members to help organize rehearsals, manage performances, and facilitate trips and workshops. By forming new leaders, they hope to ensure generational renewal and prevent projects from depending on just a few key individuals.
From Dancer to Pedagogue
The intensive two-week program in Budapest shifted their focus from simply executing repertoire to mastering methodology and micro-teaching. For seasoned dancers, this shift in perspective was profound. “Many times, after dancing for years, you incorporate the movements naturally, but you don’t necessarily stop to think about how to transmit them to other people,” Arcagni observes.
The course taught them how to structure rehearsals, organize time, establish concrete objectives, and understand the importance of warm-up and closure stages. They learned to deconstruct complex dances into smaller, digestible elements, and adapt their teaching methods based on the participants’ age and experience. During the technical sessions, they focused on the Mezőségi and Gömöri folk regions, and engaged in unique exchanges, such as learning men’s Verbunk steps while teaching women’s dance steps.
They also picked up highly specific techniques that they are eager to implement back home. For Ciechomski, a standout discovery was LipoZoo, a playful educational activity that uses colored animal figures. In this system, each animal represents a movement type and each color corresponds to a rhythm, allowing children to absorb basic dance concepts through games and movement paths in a natural, participatory way.
Arcagni was fascinated by a partner-work exercise where dancers had to lead and follow using only their backs, without relying on their hands. “This allowed us to become more aware of how to properly lead a partner and how to respond to that lead,” she notes, planning to introduce this technique alongside new rhythmic games that cater specifically to the realities of diaspora communities.
A Global Network of Shared Challenges
Perhaps the most surprising takeaway from the MTE course was found in conversations with fellow diaspora members from around the world. Both dancers expected to find stark contrasts between their experiences and those of European groups. “Before attending the course, one tends to think that European groups, being much closer to Hungary, have a completely different reality,” Ciechomski admits.
Instead, they discovered that communities globally—even those in countries neighboring Hungary—share identical concerns: attracting new members, retaining young people, training new teachers, and securing permanent access to KCSP scholarship holders. Arcagni found comfort and value in this shared struggle, noting that they met groups who had already solved problems Argentina currently faces, while Argentina had overcome hurdles others were still battling.
Ultimately, the summer at MTE provided Ines and Andy with more than just pedagogical frameworks; it forged an international support system and reinforced the value of teamwork. Returning to the Regös Folk Dance Ensemble in Buenos Aires, they brought back a wealth of practical knowledge and a vital realization: they are part of a global, interconnected effort connected by a shared passion.
“Beyond all the knowledge acquired, one of the greatest gifts of MTE was the friendships we built,” concludes Arcagni.
Photos credits: Ines Arcagni and Andy Ciechomski
