Abstract
The exact definition of the Mezőség/Câmpia Transilvaniei/Transylvanian Plain, hereafter Plain, as a region with an independent folk culture having a coherent internal structure is still a subject of debate among ethnographers. Some of them regard certain small regions (Borsa/Borșa Valley, Kis and Nagy Szamos/Someșul Mic și Someșul Mare etc.) as belonging to the Mezőség/Plain, while others do not. I distinguish a central group of the villages in the Mezőség/Plain region (Belső-Mezőség or Central Plain: e.g. Visa/Vișea, Magyarpalatka/Pălatca, Katona/Cătina, Pusztakamarás/Cămăraşu) from the rest of the territory, similarly to György Martin, István Pávai and László Barabás, relying on material culture and folklore research, as well as my own investigations. When advancing outward from this core area, the concentric circle of so-called peripheral areas follow (the West, North, East and South Plain/Mezőség), reaching the boundaries on the edges of the region: Nagy Szamos/Someșul Mare Valley, Lápos/Lăpuș Valley, Sajó/Șieu Valley, Maros/Mureş Valley, Marosszéki1 Mezőség/Mureș Seat Plain, Erdőalja/Sub Pădure area, Borsa/Borșa Valley, and Kis Szamos/Someșul Mic Valley. A further, smaller group of villages can be distinguished in the area of Belső-Mezőség/Central Plain by their dance and music culture; for the regular weekend dance events of these villages, organised by local youths in the 1960s, Roma musicians of Magyarpalatka/Pălatca would play the music. I assign the name Palatka dance district to this area in my paper.