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. 2012 Rediscovering Traditional Vegetation Management in Preserves . Trading Experiences between Cultures and Continents. Biological Conservation 158 : 271 – 279 . Mullen , Nicole 2005 Chinese Folk Art, Festivals, and Symbolism in Everyday

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Hundred Years] . Janus 6 ( 1 ): 59 – 74 . Hofer , Tamás 2009 A nemzeti történelem rávetítése a népművészetre [The Projection of National History onto Folk Art] . In Hofer , Tamás (ed) Antropológia és/vagy néprajz. Tanulmányok két kutatási

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agricultural policy. At the same time, it supported the presentation of the dramatic, staged expressions of the folklore and folk art of the communities. The presentation of folk dance was ensured by an institutional network following the Soviet model, within

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art, street art has gradually entered people’s field of vision. Today’s street art has included a variety of artistic expressions, for example street graffiti, folk art activities, artistic performances traveling through the city, creative

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between daily needs and royal objects. Such interlacing of dissimilar objects relates to the aforementioned principle of adding heterogeneous semantic units in folk art ( Mukarovsky 1977 ), which also shows the importance of apparently irrelevant details

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Hungarian folk art and Public Education category. Her research fields are Hungarian music education, especially the career choice and life skills of teenagers in the secondary schools specialized in music. TSz is a percussion artist and teacher

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. Increased financial support for the national minority across the border, manifest in a growing number of festivals, folk art camps and media coverage show that Hungarian as well as Romanian cultural policy not only supports folk art as a community- building

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of Independence, which resulted in the collection of a significant amount of folk art material centered around the figure of Lajos Kossuth, for example. See Landgraf 2014 for more information

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, which nurtured expressionism and was open to folk art. 51 Mihály Szajbély also dedicated one chapter of his monography (1989) to Géza Csáth's music critiques, but when assessing them he mainly adopted

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