Abstract
This study deals with the history of the Hungarian cottage industry co-operatives with applied folk art profile after World War II. Since publications in this topic concerning Hungary are scarce, this framework is dedicated to the circumstances under which these co-operatives which employed a high number of people and operated quite successfully up to the beginning of the eighties, came into existence, their operations and the scope of objects produced by them, which are identified as applied folk art today. Having the economic, political and cultural environment of the Rákosi- (1949–1956) and Kádár-era (1956–1989) in mind, just as well, as the current approach of creators and ethnographers to the activity of the co-operatives.
Highlights
This study deals with the history of the Hungarian cottage industry co-operatives with applied folk art profile after World War II
Since publications in this topic concerning Hungary are scarce, this framework is dedicated to the circumstances under which these co-operatives which employed a high number of people and operated quite successfully up to the beginning of the eighties, came into existence, their operations and the scope of objects produced by them, which are identified as applied folk art today
The official interest of the government was preoccupied with the issue of folk art and cottage industry in the second half of the 19th century in Hungary
Summary
The official interest of the government was preoccupied with the issue of folk art and cottage industry in the second half of the 19th century in Hungary. 15 A statement allegedly made by György Marosán, a Communist politician who was trained as a baker apprentice (Bárány 2017:36) In parallel with this training for employees has become necessary because Marianna Varga – on staff at the Folk Arts (later People’s Education) Institute at the time – noticed that the first generation who had actual practical know-how about folk art, decorative folk art, started to retire due to their ages (at this time all women retired at the age of 55 in Hungary), and this impaired the artistic value of the production activities carried out in the co-operatives. In spite of all good intentions, their institution, reduced to a certification body, the Applied Folk Art Department of the Hungarian Heritage House, or their umbrella organization, the Association of Hungarian Folk Artists (NESZ) have are not in the position to provide safe and permanent living as employers, like a former cottage industry co-operative used to do.
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