This is the first representative public survey to examine the social perception of folk culture and folk art, as well as related consumption habits in Hungary; the 2026 Report presents the results of this survey in its first chapter. As a continuation of the 2025 Report, the 2026 Report includes an assessment of the impact of the Sándor Csoóri Program, this time focusing on Hungarian folk art communities beyond the border in Upper Hungary, Transylvania, Subcarpathia, and Vojvodina. The volume focuses first on the examination of folk crafts among the various fields of folk art. It examines the folk craft community and the operational and funding structures of its organizations. It places special emphasis on the issue of knowledge transfer in folk crafts, which simultaneously affects education, professional prestige, market success, and career planning.

More information on the 2026 Hungarian Folk Art Report and the full publication can be accessed here.

On 22 October 2025 at 19:30, Palácio dos Anjos in Algés hosted an open evening performance of dis-place, following an earlier morning session dedicated to high school students. While the school session invited young people to explore the performance space and artistic process up close, the evening presentation welcomed a wider public – including visitors from Oeiras, members of the Artemrede network, local cultural professionals, and residents – creating a diverse audience with varied backgrounds and levels of familiarity with contemporary participatory art.

The dissemination event that followed was hosted by HÉTFA Research Institute, bringing together the project’s Serbian artists, Collective Studio 6, the Portuguese artists Marta Carreiras and Martim Rodrigues, the representatives of Artemrede, and members of the audience to reflect on the Serbian team’s performance and discuss insights from the wider PRODUCTION³ project.

The session began with a presentation of the preliminary findings from the audience research carried out across Hungary, Portugal, and Serbia by HÉTFA. The research explores how live cultural experiences are changing and what audiences value most today. Early results indicate that emotional resonance, meaning-making, and the opportunity to connect with relevant themes continue to play key roles in shaping cultural engagement. Participation is welcomed by many, but only when it is voluntary, clearly introduced, and allows each person to choose their level of involvement. For some, observing from a distance is meaningful in itself; for others, active engagement can deepen the artistic experience.

A roundtable discussion followed, focusing on how the performance was received and how dis-place evolved through interaction with different audiences. Members of Collective Studio 6 noted that while Serbia and Portugal represent different cultural contexts, the more significant difference came from generational perspectives: in Serbia, the audience included many acquaintances and mixed age groups, whereas in Portugal, the participants were largely teenagers and young adults. These contrasting dynamics influenced not only how the performance was perceived but also how participants engaged in the post-performance discussions or workshops.

Portuguese artists Marta and Martim highlighted the importance of the mentoring and collaborative structure provided by PRODUCTION³, emphasising how the project allowed space for experimentation and fostered closer professional and personal connections with the Artemrede municipalities. Representatives of Artemrede noted that the thematic depth of the productions – addressing topics such as mental health, displacement, and belonging – made the participatory approach particularly meaningful.

Across the discussion, participants agreed that there is no single or ideal level of participation. The strength of PRODUCTION³ lies in offering multiple entry points, from observing and reflecting to trying instruments, moving within the performance space, or contributing to shared moments of expression.

The event in Algés reflected the core aim of PRODUCTION³: to bring artists, cultural organisers, and audiences into closer dialogue, and to learn from the diverse ways people relate to art. As the project enters its final phase, the insights gathered will contribute to a comprehensive research report to be published at the end of 2025.

Photos: Paulo Martins, Artemrede

PRODUCTION³ aims to rethink how audiences relate to art by strengthening connections between creators, cultural event hosts, and the public. Through innovative co-creation models and audience-centric performances, the project explores how participation can transform both the artistic process and the audience experience.

dis-place exemplifies this ambition. The interdisciplinary performance dissolves boundaries between artistic roles and genres: two musicians, a writer-dramaturg, and a light designer step beyond their individual fields to explore each other’s practices. Rather than simply observing, the audience is invited to experience sound, movement, and space as tools for expression and storytelling, shaping their own interpretation as the performance unfolds.

For the TDGO 23 students, this encounter became much more than a curricular activity. Guided by their teachers, they explored the performance space, interacted with instruments and materials, and experienced the artistic process up close. Their reflections highlight how direct engagement can reshape the relationship between young audiences and contemporary art:

“It was like stepping into a dream where body and sound speak a new language.” – Maria
“I realised that art is not meant to be understood – it’s meant to be felt.” – Tomás
“Exploring the instruments was amazing – it felt like we were creating art too.” – Lara

These perspectives underline the transformative potential of participatory art: art is no longer distant – it becomes something personal, accessible, and alive.

As the research partner of the consortium, HÉTFA continues to support all project activities by evaluating audience perspectives, gathering insights that can benefit the wider cultural ecosystem. Events like dis-place contribute valuable knowledge about how artistic practices can evolve to foster empathy, connection, and shared creativity among diverse audience groups.

PRODUCTION³ continues in 2025 with the publication of research findings, reinforcing the common goal: to bring artists, organisers, and audiences closer together in meaningful and innovative ways.

Photo: Krisztina Forró – Hétfa Research Institute

The research was carried out with the involvement of MAHASZ, EJI, and Artisjus, and relied on a new macroeconomic approach. The study not only assessed the direct performance of the sector but also examined its broader economic embeddedness, including employment and budgetary impacts as well as multiplier effects on related industries. It provides a detailed account of the methodological framework, data sources used, and structural characteristics of the domestic music sector. The publication also aligns with the latest international music industry research, serving as a domestic adaptation of IFPI’s 2024 report ’Music in the EU’.

According to Hétfa’s analysis, every HUF 1 billion of direct spending in the Hungarian music industry generates HUF 2.04 billion of economic activity, effectively doubling the value created in the wider economy. In 2023, the sector’s direct turnover exceeded HUF 137 billion – outperforming the Hungarian book market – while the entire ecosystem produced more than HUF 282 billion in added value, representing around 0.3% of Hungary’s GDP. The industry employs over 17,000 people, primarily within micro and small enterprises. At the same time, the report highlights the dual structure of the sector: while most companies employ only a few people, the majority of revenues are concentrated among the largest players. This structure gives the sector flexibility and dynamism but also weakens its collective advocacy and increases the vulnerability of professionals. The study emphasizes that following the post-pandemic recovery, regular and detailed monitoring of the music industry is essential to ensure well-informed policymaking and effective targeted interventions.

The latest Music Industry Report can be downloaded from www.zeneipar.info (in Hungarian).

During the “Engaging Audiences: From Observation to Participation in Artistic Processes” mini-conference – organized and moderated by the HÉTFA Research Institute – we collectively explored how the role of the audience is changing in artistic processes: in what ways the audience can become an active participant in a production, and what new forms of connection can emerge between creators, organizers, and audiences. The conference also reflected on audience research carried out in the three participating countries by HÉTFA, highlighting how these findings shape the work and audience relations of artistic organizations.

The programme opened with „Redefining Audience Engagement”, a roundtable discussion exploring the organisational and project management perspectives of PRODUCTION³. Organisers from Portugal, Serbia, and Hungary reflected on the project’s three-year journey. The speakers discussed the community-building role of art, the importance of understanding local audience needs, and the challenge of balancing artistic ambition with realistic audience development goals. Experiences varied by country: in Portugal, priorities centred on mental health awareness and educational engagement; in Hungary, the emphasis was on creating performances with relevant mainstream appeal that could engage a broad, multi-generational audience, while in Serbia, the focus was on delivering high-quality classical and contemporary music performances while also reaching new and diverse audience groups. Common ground emerged around the value of emotional connection, the need for long-term strategies, and the importance of pairing audience insights with sustainable production models that respond to both cultural and practical realities.

The second discussion, „Creating with Connection”, focused on the artists’ perspectives and the creative processes developed within the project. Artistic teams from Portugal, Hungary, and Serbia presented works that integrated participatory methods at multiple stages. Approaches ranged from mental health-themed performances shaped by workshops with young people, to interactive theatre using the soundpainting method, to multi-disciplinary productions dissolving the boundaries between stage and audience. These practices showed that participation can take place at various stages: during the creation process, in the live performance itself, and through outreach activities that invite communities to engage with the performance. The discussions underlined that participation is not limited to meeting audience expectations, it also involves offering new perspectives, stimulating reflection, and sometimes challenging comfort zones.

The event closed with a clear outlook on how the project’s results can inspire future collaborations and shape participatory production methods in the years to come. This approach promoted stronger connections between audiences and artists, applied methodologies that encouraged active participation, and ensured that the specific needs and contexts of each community were carefully considered. Through this work, PRODUCTION³ showed that participation works best when it is open, flexible, and built on genuine exchange between artists, organisers, and audiences.

The PRODUCTION³ project aims to respond to the evolving needs of audiences and to offer new opportunities for linking art and society. During the mini-conference, participants will collectively explore how audiences can become active contributors in artistic processes—even as creative partners.

HÉTFA Research Institute supports the participating organisations by providing research expertise related to productions. Through audience surveys and expert interviews, it helps develop sustainable long-term strategies. The shared goal is to bring creators, organisers, and audiences closer together by strengthening and deepening their relationships.

The day will feature two roundtable discussions. The first, titled “Redefining Audience Engagement” brings together cultural event organisers to share their experiences with audience-centred design and the role of interactive experiences, with special attention to how art can shape communities and strengthen social bonds.

The second panel, titled “Creating with Connection” focuses on participatory art and community creation practices. Portuguese, Serbian, and Hungarian artists will share their experiences of how audiences can become active collaborators in artistic processes.

This event aims to inspire and provide practical examples for those who wish to experience art not merely as spectators but as active participants—whether they are creators, organisers, or committed audience members.

The detailed programme can be found here.

Photo credit: Mea Tót

The staff of HÉTFA, in cooperation with the Hungarian Heritage House and the Revival Research Lab, was pleased to assist in the preparation of the report.

The Report is available at the following link: https://hagyomanyokhaza.hu/hu/nepmuveszeti-jelentes-2025

The LOST ANALOGUE project, funded under the Erasmus+ program, has been a groundbreaking initiative aimed at revitalizing vocational film education and training. Running from October 2023 to January 2025, the project brought together four European partners to explore the use of analogue film techniques alongside interdisciplinary methodologies, such as collaborations with music and other creative fields. The project sought to innovate in teaching practices and bridge the skills gap between analogue and digital filmmaking while fostering international cooperation.

The newly published evaluation report, “CELLULOID CONNECTIONS – Cultivating Creative Skills through Analogue Film and Musical Collaboration,” provides a detailed analysis of the project’s outcomes. It is an invaluable resource for educators and cultural professionals seeking inspiration for innovative teaching methods or insights into the benefits of interdisciplinary collaboration in creative education. The report highlights key findings, including the impact of reintroducing analogue techniques and the effectiveness of cross-border and interdisciplinary cooperation.

The Lost Analogue evaluation report can be downloaded from HERE.

HÉTFA Research Institute, a key partner in the LOST ANALOGUE project, played a pivotal role in developing the evaluation report. Leveraging its expertise in cultural and educational research, HÉTFA conducted a comprehensive analysis of the project’s activities and outcomes, ensuring that the report offers data-driven insights on the artistic development and pedadogical process. This publication not only celebrates the project’s achievements but also serves as a valuable guide for those interested in innovative and sustainable approaches to creative education.

The evaluation report is complemented by the Lost Analogue Education Handbook, that reveals the behind-the-scenes details of creating the film remake The Death of Dracula, which is at the core of the project. Coordinated by the  Association of Hungarian Filmmakers from Transylvania, the handbook provides a detailed exploration of the benefits and challenges of using analog techniques. Additionally, it includes a dedicated chapter on the music composition process (composer and music director: Miqueu Montanaro, MiMo Association) and shares insights from the Ördögkatlan Festival, which hosted the first test screening and has extensive experience in interdisciplinary art projects.

The Lost Analogue educational handbook can be downloaded from HERE.

For any questions or to explore collaboration opportunities, feel free to contact the project partners through the project’s Facebook page.

Last week, the 12th Music Hungary Conference and Showcase was held in Veszprém. The two-day event served as a professional forum for experts and stakeholders in the music industry, accompanied by performances from the latest talents in Hungarian popular music. This year’s main theme, Changing the Tune, focused on the continuous transformation and adaptability of the music sector.

HÉTFA Research Institute was also invited to the event, where dr. Péter Horváth, director of ProArt and Klára Nagy, head of the Creative Industries Lab at HÉTFA, presented the new research methodology being developed for the upcoming ProArt Music Industry Report. HÉTFA has been collaborating on the Music Industry Report for seven years with ProArt – Alliance for Copyright, contributing to an in-depth understanding of the sector. This year’s report centers on the macroeconomic significance of the Hungarian music industry, using a macroeconomic model to explore its impact on other economic sectors. The research aims to provide a clear and detailed picture of the industry’s economic role to inform decision-makers and stakeholders alike.

As part of the research, a survey is being conducted among music industry businesses to gather real-world data on the sector’s economic performance, going beyond the insights offered by statistical databases. The survey, available until December 15, is designed to measure the state of the Hungarian music market following the methodology of the 2024 IFPI report, Music in the EU. By aligning with this European framework, HÉTFA aims to support the harmonization of music industry metrics across Europe and contribute to the sector’s growth.

Photo credit:  Oláh Péter / Music Hungary

Who are the members of this international team? The Hungarian Film Association of Transylvania represents the students from Sapientia Hungarian University of Transylvania (RO) and their professor Dr. Róbert Lakatos. They shot a silent film using analogue technology based on the script of the previously lost film about Dracula. From here comes the name of the Erasmus + project. Lost Analogue means to reimagine the previously lost work using analogue technology. What makes the project special is that the music played during the film was created by Miquéu Montanaro (FR) with the collaboration of various artists from France, Hungary and Romania. All this work was supported by the MIMO Foundation (FR) and enabled by the Mediawave Foundation (HU).

The Lost Analogue project goes beyond the purpose of creating the Dracula film and the educational material. The HÉTFA Research Institute plays a key role in professionalising the project evaluation and impact assessment research of the Lost Analogue project launched in October 2023. This research will help the project partners to use their results internationally and to develop further international cooperation. In this light, HÉTFA staff plan to conduct interviews with experts in the field and the project partners. Additionally, HÉTFA aims to send out questionnaires to the student participants in the film-making process and to analyse the responses after that. Furthermore, a final study is coming in the autumn highlighting the results and presenting the evaluation of the overall project.

“Community and celebration, or the most human festival” is the mission statement of the 17th Ördögkatlan Festival, one of the partners of the Lost Analogue project. As such, the Lost Analogue project aims to support this value-creating work.

You can read here more information about the silent film screened with live music on 3 August.

Image source: The Death of Dracula – Lost Analogue Facebook page

Photo: Kovács Milán – Ördögkatlan Fesztivál