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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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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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. 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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, 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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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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-197. SZARVAS, Zsuzsa 1990: A mezőkövesdi zsidóság szerepe a magyar népművészet elterjesztésében [The role of the Jews of Mezőkövesd in spreading Hungarian folk art], in: KRÍZA, Ildikó (ed.), A hagyomány kötelékében. Tanulmányok a magyarországi zsidó folkór

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