“based on a dance from Igris in the Banat region of Romania”

See YEAR OF WONDER: Classical Music for Every Day (2017), by Clemency Burton-Hill: 25th March entry:

“It was a moment of pure chance that sparked Bartók’s lifelong passion for folk music. In the summer of 1904, while on holiday, he overheard a young nanny called Lidi Dósa singing some traditional Transylvanian songs to the children she was looking after. He was captivated. As we saw with Sarasate, by the late nineteenth century there was a growing trend among classical composers to draw on national musical traditions. Spearheaded by the likes of Glinka, Dvorák, and Liszt, Bartók took this preoccupation to a new level, absorbing, as he himself puts it, the very ‘idiom of peasant music’ to the point where it ‘has become his musical mother tongue‘.”

“Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary’s greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became known as ethnomusicology…Hungarian-Romanian relations are foreign relations between Hungary and Romania dating back to the Middle Ages and continuing after the Romanian unification in 1859 and independence in 1877. In the past, they involved Wallachia and Moldavia.
Both countries share 443 km (275 mi) of common border and are full members of NATO and the European Union; however, despite current alliances, there are historical national tensions over Transylvania.”(Wikipedia)