Authors:Csaba Mészáros, Stefan Krist, Vsevolod Bashkuev, Luboš Bělka, Zsófia Hacsek, Zoltán Nagy, István Sántha, and Ildikó Sz. Kristóf
Hundred Years] . Janus 6 ( 1 ): 59 – 74 .
Hofer , Tamás 2009 A nemzeti történelem rávetítése a népművészetre [The Projection of National History onto FolkArt] . In Hofer , Tamás (ed) Antropológia és/vagy néprajz. Tanulmányok két kutatási
agricultural policy. At the same time, it supported the presentation of the dramatic, staged expressions of the folklore and folkart of the communities. The presentation of folk dance was ensured by an institutional network following the Soviet model, within
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, folkart activities, artistic performances traveling through the city, creative
between daily needs and royal objects. Such interlacing of dissimilar objects relates to the aforementioned principle of adding heterogeneous semantic units in folkart ( Mukarovsky 1977 ), which also shows the importance of apparently irrelevant details
Hungarian folkart 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
. Increased financial support for the national minority across the border, manifest in a growing number of festivals, folkart camps and media coverage show that Hungarian as well as Romanian cultural policy not only supports folkart as a community- building