Jiang WU & Zhiming HE (China): Memory Reluctant to Be Forgotten 20 min.

Chinese various nationalities' native culture is vanishing. The culture in painting, music, sculpture, or architecture has been fades gradually from most people, even the artists’ memory. With the development of western modernization, pursuing western modern civilization has already become the fashion in China. Western modern culture is developed on the basis of their traditional culture, and the modern culture of China is being developed in a manner to abandon Chinese traditional culture. Still, there is some small group of Chinese artists unwilling to give up their traditional and art forms. They think the real modern art and civilization should not abandon one's own national culture and the artistic characteristic as the cost, but should let the modern art form communicated with the traditional national culture, there could be better mutual development in the way.

Any nationality has the right to choose the suitable way for living and to develop one’s own culture. At present, the modern civilization progress not only unifies the way we live but also our culture, art and the mode of ideology.

Every nationality with their adaptive behavior, emotion, personality and life style determined their own culture and art form which were accumulated and endeavoring through thousands of years. But our current situation is incessant losing and forgetting these precious traditional national culture and art.

Which we don’t want to forget is not only the traditional national art form, but also are the national culture, national character and the life style between the national histories.

To preserve and hand down the national culture for generations will provide the right and opportunity for our descendant to chose the national culture and characteristic which were original belong to them.

With Gábor Boka, the director and the help of Miklós Both and the leading of Zeek the closing performance has to be put together. It's worth to peek into the rehearsals to see the process of the workshops. What will become for the closing ceremony of 30th April at 21.00? During the rehearsals a lot of details and solutions will come up which can't fit into the closing ceremony. 

The rehearsals of the music and dance workshop is lead by Miklós Both, the leader of Napra band. In the morning and in the afternoon for 3-3 hours in the armory of Fort Monostor. It's worth to peek into the rehearsals to see the process of the workshops. What will it become for the closing ceremony of 30th April at 21.00? During the rehearsals a lot of details and solutions will come up which can't fit into the closing ceremony.

In case of good weather- which we hope will be- we imagine the afternoons of the festival as a Maypole Celebration welcoming summer and blossoming. While harvest and vintage somewhat still holds the tradition of community spirit, this specific period which preaches the revival of nature, blooming trees, meadows, seems to fade. We would like to draw attention to this beautiful times if the weather also cooperates. So our programmes will be held outside on the Danube waterfront, near the floodplain forest. We would like to build a "tradition" on this, so we don't want to mess the "natural decoration" up. We won't use aplification, stage, only the athmosphere amplifying people. But bring checked tablecloth, picnic basket and blankets.

MEDIAWAVE MAY DAY will be the sum of small and bigger entertaining programmes, relaxing and community building, permanent and time bound special programmes.

If the weather won't stand on our side the programmes will be held in the Danube tower of the Fort Monostor which will be a perfect venue in case of bad weather. (The Festival Cetre and the Cinema Rooms have also heating system!)

Wines, spirits, foods... special folk foods.

There are no unanswered questions. Every problem has a reason.
If we identify the cause the problem can be solved in our minds.
When we have solved the problem theoretically we can create causes which are able to prepare our and other's mind for the practical solution.
Conversation with Attila Grandpierre astronomer, poet, musician, philosopher.

As an instrument. The design of musical gongs is such that much faster melodies can be played on them as well, their sound dies out faster than that of a bell. The instrument can be either installed to a place or portable. As a  decorative element unlike bells, gongs can be assembled in any angles. It means that they can be installed as interactive ornaments on zhe facades of buildings, as an instrument onto the ceiling of rooms or by fountains as tiny mushrooms.

Concact:

kapui@vnet.hu

In memoriam László Győrkös (1947-1997); György Szabados (1939-2011); Tamás Váczi (1956-1987); Sándor Vajda (1965-1996); Zomborácz Tibor (1956-2007) 

We started the precessedor of MEDIAWAVE Festival, the interntaional jazz concert series in Győr in 1982 which was the first independent, civil organized concert series event during the years of socialism. (We didn't know that time the importance of our deeds, it became clear later. We only enjoed jazz and were enthusiastic about it.) Today we know that those concerts are part of the jazz and music history of Hungary which is justified by many musical studies. The main point was to bring the big members of american creative jazz and improvisation music to the isolated Hungary, like Anthony Braxton, Roscoe Mitchell, George Lewis, the Rova Saxophone Quartett, etc. And we invited the similar minded Hungarian bands, too: György Szabados, Mihály Dresh, István Grencsó, Károly Binder. The concert series got a European echo, the audience came from all over the country and neighbouring contries until the series was stopped. The biggest help of the organizers (László Győrkős, Jenő Hartyándi, Károly Lázár) was the legendary leader of the Konfrontationen, Nckelsdorf, Hans Falb. We are currently expanding the archive folder of the concerts.

We recommend the following film for jazz lovers (Officer Hall 15:00)

Claudia BUTHENHOFF-DUFFY (Poland / Germany):

Komeda - a soundtrack for a life 52 min.
Krzysztof Komeda was the greatest Polish jazz musician, pianist and composer in the 70's and 80's. The special talent, special style creator who didn't live for lon

g. Today's jazz icons grew up in his bands from Namyslowski till Tomas Stanko. His musical quality is proved by being in Hollywood after composing numerous not background music for later world famous Polish films.

During the informal conversation we will ask the 70 year old master about his life.

Moderator:
Péter Pallai, the legendary Boby Gordon of the BBC Hungarian Programme who shaped the musical and jazz taste of generations.

He founded his band in 2011. First they are playing jazz standards but slowly the saxophonist's own compositions displace these. His insiprations are great musicians: Thelonius Monk, Wayne Shorter, Joe Henderson, Charles Mingus, Sonny Rollins. Although these compositions try to secede from the original creating a new and fresh athmosphere for the audience.

"Viktor Toth is one of the most talented musicians in the young generation of jazz artists in Hungary" said the press when reviewing his 2007 Climbing with Mountains, which, incidentally, won best jazz album of the same year. Viktor Tóth earned the title jazzman of the year 2010 on Fidelio's countrywide online poll in 2011. Despite this, he still sees himself as a truth seeker and with his musical endeavors seeks to reach oneness with universal harmony. As Toth has played with such internationally renowned musicians as Hamid Drake (drums), Henry Franklyn (bass), William Parker (bass) and Mihaly Dresch (sax)...

In the early 1970s, Ulmer joined Ornette Coleman; he was the first electric guitarist to record and tour extensively with Coleman. He has credited Coleman as a major influence, and Coleman's strong reliance on electric guitar in his fusion-oriented recordings owes a distinct debt to Ulmer.
He formed a group called the Music Revelation Ensemble with David Murray and Ronald Shannon Jackson, with whom he recorded throughout the 1980s and 1990s. Different incarnations of the group also featured Julius Hemphill, Arthur Blythe, Sam Rivers, and Hamiet Bluiett on saxophones and flutes. In the 1980s he co-led, with saxophonist George Adams, the ensemble Phalanx.

In the era of individual “star” instrumentalists, the idea of a truly collective trio can be a difficult concept to fathom. Yet collectivity is what the FLY trio strives for; and collectivity is what they so unabashedly and unquestionably achieve. Ballard, Grenadier and Turner represent three rather distinct musical personalities- simultaneously complimentary and contrasting –who have created a cohesive unit that expresses each part while creating an uniquely realized whole. In other words, they celebrate the group, without sacrificing the individual.

The quartett usually plays with piano where they play their own music but now they are coming with a guitar and play mainstream jazz. In 2008 - in a quintett form - they shared first prize on the Jazz Festival competition Balatonfüred.

Crossover which somehow always winks at jazz. The group (mainly) consists of 8 members and bulind its musical cathedral on funk, latin, jazz and who knows what else. On top the newly found singer, Márta Molnár shines. Real danceable club music with concrete rhythm section, winds and celesta. It's allowed to dance.

From swing to nujazz musical delicacies of 70 years will speak up during the night. Remixes and the usual elecrtonic style will favour the audience. The bakelites will slowly turn on the dance music so be prepared.

During the first stage in Kisharsány the slam poetry performaces around the fire were a big success. We don't know how but they didn't become pioneer like and people loved it! And slammers had the opportunity to show their progress.