The first premieres at the head of HSFE
1982 was a productive year for Sándor Timár. During this time, Táncra lábam! (Dance, my Feet!) premiered. Composed for a chamber ensemble, the piece could also be danced on smaller country stages.
In the same year, Lakodalmas (Wedding Songs and Dances) was staged, featuring wedding dances from Zoltán Kodály's collection, performed by a small classical ensemble and a collaboration of three companies – dance, music, and singing.
1982-1989 - Years of Tranquillity
After the initial momentum, a quieter period followed. During this time, only one new solo concert, Vallomások a néptáncról (Confessions of Folk Dance), was created in 1985. Intimate in tone, it reflected Timár's three decades of professional experience and memories.
1989 - New momentum during the Regime Change
With the political changes of 1989, new energy revitalised the Hungarian folk dance scene. Young choreographers and dancers eager to experiment with new forms began participating in the Hungarian State Folk Ensemble's workshop.
Tánckaláka performances let young artists—Jolán Foltin, László Diószegi, Zoltán Farkas, and Zoltán Zsuráfszki—showcase their own choreographies.
The Chamber shows, and Studio 6 became the company's experimental workshops. These events explored new possibilities in the language of folk dance while seeking a dialogue between traditional forms and contemporary thought.
During this period, Timár created a performance featuring selected choreographies by Miklós Rabai and István Molnár. Although the two never collaborated, their works were presented together in a single evening, emphasising the enduring continuity of the Hungarian folk dance tradition.
HSFE in the 1990s
In the early 1990s, the ensemble balanced tradition with renewal.
The show in 1990 - Karikára, legények! (Come on, lads!) presented traditional Hungarian folk dances with fresh choreographic solutions.
1992 - Elindultam szép hazámból (I set off from my lovely homeland)
By incorporating Slovak and Transylvanian dances into its repertoire, the show introduced the values of Hungarian folklore beyond its borders.
1995- Régen volt, soká lesz (It Was Long Ago, It Will Be A Long Time)
The performance marked a milestone generational shift: the experienced Timár took on the artistic director role, while his protégé, Gábor Mihályi, choreographed. For Mihályi, this was a landmark—the first time he led a full-length solo show with the ensemble.
Rábai and Timár - two distinct approaches
Hungarian stage folk dance history often contrasted the artistic styles of Miklós Rábai and Sándor Timár.
Rábai's works were often called "Folk revues," while Timár's choreographies were ironically dubbed "museums." Critics said there were few dramatic events on stage.
As musicologist Bálint Sárosi put it:
As musicologist Bálint Sárosi commented, "I'm from Transylvania, and I have a lot of respect for traditional folk culture. It pains me if the stripped-down original is presented in an environment alien to it.”
However, Timár consistently stood up for his ideas:
“What we do is condensed, transubstantiated and abstracted material. We long ago moved past simple traditional dance steps. Those who say we merely imitate folklore are wrong.”
1996 - The end of an era
In 1996, Sándor Timár retired, marking the end of a decisive era in HSFE's history.
He was succeeded by Ferenc Sebő, a visionary founder of the Dance House Movement. Sebő championed a vibrant artistic vision, weaving together every facet of Hungarian folk tradition—music, research, community, and dance—into a dynamic, unified experience.
His initiatives, such as the László Lajtha Traditionalist Workshop and Folk Art Methodology Lab, founded the Hungarian Heritage House.
Sebő believed folk music was always the "pop music" of community culture:
He noted, "World music is a popular genre, but so was folk music at the time of its birth... it is always the current one that carries on the old things.”
