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
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
. 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
, which nurtured expressionism and was open to folkart.
Mihály Szajbély also dedicated one chapter of his monography (1989) to Géza Csáth's music critiques, but when assessing them he mainly adopted
SZARVAS, Zsuzsa 1990: A mezőkövesdi zsidóság szerepe a magyar népművészet elterjesztésében [The role of the Jews of Mezőkövesd in spreading Hungarian folkart], in: KRÍZA, Ildikó (ed.), A hagyomány kötelékében. Tanulmányok a magyarországi zsidó folkór