The duo, assembled in the summer of 2004, reworks folk songs in an altogether unconventional manner. Motifs from andalusian flamenco merge with traditional motifs and genres of the folk music from Brazil and Argentina as they accompany the Hungarian folk songs sung with an elemental power. The folk songs themselves are not damaged this way, but, rather, completed and complemented by the harmonies taken from a different culture. Full valued and enjoyable in themselves too, these unusual musical playmates create a completely new musical universe.     The archaic Moldavian folk songs that are part of the actual repertoire are coloured by flamenco motifs. Dark, melancholic sounds, reaching back to the middle ages, bridge the musical cultures of these two legendary borderlands. Merchants, artists, vagabonds and conquerors have all contributed to the cultures of these two trespassing gates to Western Europe, fact palpable in the respective folk motifs even today. The music of Mondala has been greatly enriched by the motifs that survived from Hungary’s Turkish subjugation and Spain’s Morish years, thus building a fantastic bridge reaching from the African to the Asian borders of Europe.     Most of the folk songs that reflect a merrier mood in the programme, date back to relatively later times. The South American samba and bossanova meeting the borderlands result in new and interesting pulses and polyrythmia.. The Hungarian element is not at all unusual in the music of South America, for the latter has melted in itself extremely diverse European folk harmonies throughout the years.     The basic configuration in South American music is the singer-classical guitar one, which, however is not at all characteristic of Hungarian folk music. On the other hand, it is the singer who communicates in traditional flamenco, the guitar having only a partial role in the performance. In the Tünde Bokor & Árpád Hadnagy assembly, the guitar sound is just as sonorant and intensive, as the human voice it embraces and accompanies.