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INTRODUCTION The official interest of the government was preoccupied with the issue of folk art and cottage industry in the second half of the 19 th century in Hungary. The Parliament discussed the support of cottage industry in 1877 for the

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did not suppress these – mainly aesthetic and identity building – ambitions but converted them into a means of the socialist ideology. New directions of folk art for the creative people have been drawn up by the applied folk art and cottage industry co

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Social Change, Dress and Identity

Observations on the Disintegration of Peasant Culture as Exemplified by Rural Women’s Clothing in Hungary from the First World War to the End of the Kádár Era Socialism

Acta Ethnographica Hungarica
Author: Ágnes Fülemile

,” “new style,” and “newest” or “latest style” of folk art, which can be applied to costume as well. The old-style culture of the feudal serf-peasants – who lived in a more bound and less mobile society before the emancipation of serfs – was a more

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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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