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Transylvania – Romania Without Dracula

Category: Transylvania

  • Expat Dog

    “Proctor, study of a blood-hound’s head.” The New York Public Library Digital Collections. 1853

    Long story short, I am a middle-aged expat dog. A well-trained snow-white American Labrador. Call me a WASP dog and I take it in. At an early stage I was taught good manners, basic manners of come, sit, stay, wait, kennel, down and so forth. The idea behind that, you know the codes, you get along fine wherever you end up living. Anyways, you may already know that we Labs are calm and trainable and basically pleasant to be around and trainers can rely on our quick and analytical mindset. 

    So here am I, your family guy, expat version.

    Since my owners (or my breeder?) picked me up amid my siblings, I have been going through a number of places and coming across a variety of human samples. Had I any ambition to tell all of what I have been smelling as they walked me in the streets of New York, Turin, Milan, Moscow and Kyiv I would be one more dog poet. I resist the temptation, call me a coward and I take it in.

    I miss my siblings and my caring mom. How many times I have been on the point of believing it was one of their endearing silhouettes that was passing me by along the street. I’ll leave it at that. I ended up adapting, which is not complaining, rather plain reckoning. I am quite easy going and respect humans. I play fetch, swim, go on a walk, or keep my owners’ feet warm. If ever, it is in ball games that I get really crazy and slightly out of control. If ever. With peers too I get along fine, I just cannot see the point in challenging any of them. I keep to myself, tall and content just like my image mirrored inside the neat elevator ascending to our share of paradise, up at the fifteenth floor. For sure, all the affable strokes I have been bestowed upon by unknown hands as I was walked here and there, satisfy my long for rewarding. If any.

    Now, don’t ask me why, either my breeder or my owners named me after a human language dictionary. By now I have got used to my bookish self,  kind of an omen nomen thing, if you get what I mean.More.Fishing the sound of that exotic word amid the thousand others that gush out from my owners’ mouths gives me a sense of belonging – even of purpose, a confirmation anyway, that I belong to their daily rites, just as much as they do to mine. What else to long for, I wonder as I lay down on the soft king-size mat they bought me at that oligarchs’ pet shop back in Moscow days. 

    Surely, humans seem obsessed with words, urine definitely not being an option for them to mark their territory. It is words that they rely upon to make the trick. Not only my owners – all of them. Floods of words are being exchanged by the minute, and the more they flow others with them, the more they are expected to be in control of anything. Almost. Barking is a harsh fallback to them. They have an instinct for playing with words just like we do with sticks and balls. Their apprenticeship with them, though, actually takes their whole lifetime.  Truth is, to catch up with them, all you need is to pick out a few salient words out of their unending stream of blah-blah-blah. We are straighforward and lucky, wired as we are. Take our sense of smell. I just need to take a whiff of my folks’ smell, especially of HER scent, and I am the happiest old pup on earth. 

    Can we say the same for them? How can they expect to reach out to one another through all the layers of words that keep on growing on their skin? Still, that is in their blood and there is no point in criticizing. Take it or leave it. Aren’t we called their best friends? Give us a whiff of this and a whiff of that and we figure out the whole world and rarely feel that miserable, anyway. Take expat dogs: every now and then our owners are expected to  decamp and we are asked to adapt into new spots, get exposed to unsmelled scents, put up with misleading new street layouts. That’s nothing compared to their ordeal, including their taming of whole new sets of words – foreign languages they call them – and related new social skills.

    Good thing is, I am only expected to understand my owners’ words, which is an endearing blend of American English and Italian. And how much do I love the sound of that latin language (am I surprising you? Not only am I acquainted with the existence of Latin but I am also rather attracted by its lively smell), the singing way she summons me for a walk, “sei pronto, WEBSTER, andiamo?”, my tail wagging from side to side,  to reach for the entrance door never takes me longer than a second. I am there, I am HERS, ready to smell the world all over again.  Long story short, no matter if you are a working dog, a service one or just an expat family guy, you end up seeing them exactly as they are, beneath their invisible coats of useless words.

  • Rovegan, a Contemporary Fairy Tale

    Rovegan, a Contemporary Fairy Tale

    English version differing from original Italian article first published in “Il Manifesto, Alias” 

    Caprele sunt printre primele animale domesticite de către om. În neolitic, păstorii au început să păstreze caprinele pentru lapte și carne, dar de-a lungul timpului, oamenii au descoperit că pot fi folosite și drept combustibil, pentru îmbrăcăminte, construcții și instrumente. Capra este numită “vaca omului sărac”. Pentru că e ieftină şi bună.

    Goats are among the first animals domesticated by humans. In the Neolithic, shepherds began to keep goats for milk and meat, but over time people have discovered that they can also be used as fuel, clothing, construction and instruments. The goat is called “the poor man’s cow.” Because it’s cheap and good.

     

    Meeting Up at Dianei 4

    I meet Catincă Drăgănescu in a June rainy day at Dianei 4. Like it often happens in Romania, places echo back to other stories, developing their secret connections. Now these shanty chic quiet rooms host a hipster venue, back in Ceaușescu’s days, some Securitate premises. At a given time, they also served as collecting point for Romanian jews in wait for their final relocation to Israel, which could only apply once their diversified “ramsons” were negotiated with Romanian government agents. Today Catincă’s playwright ROVEGAN  gives voice to a contemporary variation of the same dilemma:  the impact of economic migrations on human destinies. Catincă wrote ROVEGAN in 2015 as her Residency project at the Drama League, New York, the first Romanian to be admitted there. We order our cappuccinos.

     

    Badanti, an Invisible Army 

    I had experienced ROVEGAN few days before at Centrul Educațional Replika in Bucharest. The last but one show with no certainty yet that it would run on again in the fall season, it is a piece of brechtian “epic theatre”.

    The performance lasts for an hour and a half and flows at a high emotional pace. I believe that any signora italiana, if not any Italian citizen, should “experience” this piéce. Set design is basic: three chairs and a background photo frame featuring a dusty road reaching out into the Moldavian steppe, the only anthropic element being a Bine aţi venit la Vaslui/ ‘Welcome to Vaslui’ road sign.

    Acting is all on three outstanding actresses, Mihaela Teleoacă, Valentina Zaharia and Silvana Negruţiu: they alternate to create a gallery of characters as well as to give voice to the chorus. Each scene is introduced by an estranging musical track – one for all, the sagacious manipulation of Felicità by Albano e Romina (thank you, Alexei Țurcan, for twisting that song to its utmost grotesque possibilities).

    And, under a badante‘s eyes, what an alienating place Italy may become. Scene after scene, the picture sharpens more and more, with Italiani brava gente/ ‘Italians good people’ inflicting (unawares?) hardship on a silent army of Romanian and Moldavian badanti. Here, the term badante needs analysing a bit. The Italian Treccani Dictionary dismisses  it as “A person without special qualifications, who cares for the elderly, the sick or the not self-sufficient”, real life defines a badante as a supporting column in the Italian contemporary society. She is the person who daily accesses our houses to take care of our old, disabled or little ones, often 24/7, allowing us to pursue our professional or personal goals. It does come with a cost on both sides, but we rarely seem to stop to consider what these persons had to leave behind: they remain an invisible army to us.

     

    Audiences

    Entrance to the show is for free but on reservation basis, so to observe those attending does prove an exercise in behavioural sociology. Fact is, the phenomenon of badanti is a sensitive topic in the Romanian society. It is perceived as a taboo by a vast majority as it triggers sense of shame, guilt or frustration. To my surprise, though, people showing up to attend the performance were quite heterogeneous and, along with the expected ones – young engagé, mostly female – I could spot a considerable number of common middle-aged citizens. Personally, I bear my own burden, involved as I was in “the Italian side” of the phenomenon.

    Rovegan at Teatrul Replika, Bucharest, May 2017

     

    Theatre of Power Vs Theatre of Ideas

    As a whole, though, what a different human gallery I found at Centrul Replika, from the attendees observed just a week before at Bucharest Teatru National for Durenmatt’s The Visit. There, prestigious location, dress code and the related importance of being seen, informed me that power was in the air. Here, Radu Apostol, one of the Centre organisers, explained to me that their performances can go on only thanks to voluntary work, strong social commitment and networking, relying on hardly any public funding. Against all odds, though, their program goes on, their mission being to keep on providing the community with a place where crucial topical issues may be addressed.

    “Theatre of Power – i.e. the cultural industry with its link to the political apparatus -, vs Theatre of Ideas, with its lively offer of independent projects that can rarely benefit from public funding and mostly rely on alternative fundraising channels”,  Catincă would later explain to me, adding up:”If you want to survive, you cannot be only a pure playwright, you must become also the manager of your own project”. Catincă is still very young but she seems to already possess all the necessary managerial competences, with also a degree in Media Communication. I cannot but be struck by her focus on her art and clarity of vision as cultural organiser.

     

    Artwork, not Documentary

    ROVEGAN is the first playwright in a trilogy on immigration to bring the badanti issue on stage in Romania. The immediate source of inspiration for her project was Cireșe amare / Bitter Cherries, a novel by Liliana Nechita, a former badante from Moldova herself. In fact, while migration is becoming a key issue among young Romanian intellectuals and a documentary film already exists, Catincă wishes to underline that her focus is on the artistic representation rather than on the social investigation: “ROVEGAN is no documentary as it aims at creating its own world, detached from any real circumstances.”

    Produced by Asociaţia ARENA, between February and June 2017, ROVEGAN  went on tour all across Romania, with free performances followed by an open  debate: Bucharest, Cluj, Craiova, Iasi, Botosani, Sibiu, Targu Mures and Sfantu Gheorghe. “We found very different kind of spectators. In the smallest centres, like Botosani, Targu Mures and Sfantu Gheorghe, we had very emotional feedbacks, with many women taking it all on a very personal level; at the other end of the spectrum, we found Bucharest audience, with a much more detached cultural approach.

    “Children and Grandparents of the Migration”, seen on a wall in strada Italiana, Bucharest

     

    The Epic of Mother Goat

    “The idea to use a fairy tale to develop my project came to me while listening, one Saturday morning, a reading of Capra cu trei iezi / ‘The Goat with three kids’ on a children radio program: what an epiphany!” Disseminated with the Romanian curriculum, Creangă’s tale was written in 1875. Since then it has proved one of the best-known works in local children’s literature, also becoming the topic of several music, theater and film adaptations, in both Romania and Moldova. The tale illustrates the notion of motherly love.

    As Catincă elaborated her vision, a piéce of epic theatre began to take shape. “Mother goat is Mioara, a 47-old single mother from a Moldavian village. Forced by extreme poverty to go to Italy to work as a badantă, she must leave behind her two little kids and her very old mother.”

    So it is that on this popular background the action in ROVEGAN is built. The script goes on at a steady pace, exploiting at its best the register of the fairy tale and the imagery of the goat ecosystem. Mihaela plays Mioara, while Valentina and Silvana make their voices sound like bleating, other moments one of them uses a neutral tone to illustrate some behavioural habits of the Carpathian Goat.

    That is how, then, the imagery of the goat and the re-elaboration of traditional nursery rhymes, help Catincă to describe “the mixed feelings hundreds of thousands of Romanian and Moldavian economic migrants experience, torn as they happen to be between traditional role models of ‘self-sacrificing mothers’ and pressing new needs of self-empowerment and gender awareness.”

    About the term badantă: it is worth noting that, while its Italian version is officially used in all communications of the Italian State with reference to migration and work permit policies, the Romanian word has not appeared yet in the DEX (Dicționarul Explicativ al Limbii Române).

     

    A Must See 

    The final scene won’t be spoiled, I just borrow a conclusion from a Romanian review (which I cannot track back, help me please if anyone can): “Mioara’s story brought on stage by Catincă and her team, is just one of the hundreds of thousands and this is why this shown must be seen: a phenomenon that takes place in our contemporary world and, more specifically, within the Romanian society. It helps to understand more clearly  the deep tear that is been perceived more and more in recent years between those who take to the streets to resist and protest and those who seem passive and careless. They are those who most suffer from extreme poverty and lack of education in the rural areas of the country – thousands of Romanians forced to migrate in search of work opportunities, with all the consequences that such a decision causes in their lives and in their relatives’, as well as in the Romanian society as a whole. Therefore, go and see ROVEGAN, because if it were a smart, funny and well played show that touches socials issues without provoking any in-depth reflection, it would have already been awarded on top of a podium.”

     

    Seasons To Come

    When I leave Catincă I wish her good luck and, above all, promise to follow up soon with my article. I did prove a liar, as only now, October 2017,  I have been able to keep my promise. A couple of good reasons are on my side, though. First one, I was sure that ROVEGAN would go on in the fall season and so would benefit more from any new review coming up NOW, rather than as a tail of the old season. Second and last one, because a recent relocation to Kiev, Ukraine, has made all offline engagements prevailing and rather time-absorbing. Truth is, Catincă Drăgănescu did not need my review at all as she keeps on reaping wider and wider well-deserved success, season after season. Good luck to such a promising young artist.

    Rovegan Show Poster

     

    ROVEGAN

    Playwright and Director: Catincă Drăgănescu
    Actors: Mihaela Teleoacă, Valentina Zaharia, Silvana Negruţiu
    Original Music: Alexei Țurcan
    Video and Documentary: Alexandra Dincă, Vlad Bȋrdu, Ionuţ Popescu

     

    Dianei 4, Bucharest

     

     

     

     

     

     

     

     

     

     

    LINKS:

    Trailer Rovegan

    Platforma GO WEST

    Liliana Nechita

     

     

     

     

  • Interview – Mike Ormsby

    Interview – Mike Ormsby

    After having enjoyed reading Never Mind the Balkans, Here’s Romania, I wanted to know more about the author Mike Ormsby and his subject matter. A British writer and former BBC journalist, World Service trainer and musician, Mike welcomed my questions with the same enthusiasm and passion I had found in his writing. With his wife Angela Nicoara, also journalist and writer, he has chosen Magura, Transylvania as his main place of residence. 

    What kind of reactions has your book received in the course of time? Can you detect any difference in its reception between Romanian and English readers?

    Since 2008, when the book was published, the majority of my readers seem to have enjoyed it. Most of them find it amusing, direct, and accurate; I’m glad about that. My first publisher was a bit worried and said, “Romania is not ready for your book – it’s too honest.” I replied, “But if not now, then when?” As it turned out, Romania’s literary critics gave the book a very positive reception and several described me as “our British Caragiale”. Most readers on Amazon, GoodReads, and so on, have been very supportive too, and I’ve made new friends this way. Of course, some people do not enjoy the book and post negative reviews, but that’s life and I don’t mind unless they misrepresent or tell lies about my work, as some do, because that’s not fair.

    To answer the second part of your question, many Romanians seemed surprised that a foreigner could observe, understand, and write about their country in a way that ’opened their eyes’. For example, a Romanian Army general told me that he thought his wife was crazy for looking after street dogs, until he read my book. Now, he sees them differently and even helps her.

    As regards nationalities, I have not sensed differences between the reactions of Romanian and Anglophone readers. On the contrary, I see similarities. For example, many Anglophones and Romanians see this country clearly and are honest about its pros and cons. In my experience, when such people read ‘Never Mind’ they tend to share my own outlook and find the book to be fair and realistic. However, the opposite applies: some foreigners (often tourists) and some Romanians (often nationalists) wish to ‘defend’ the country from perceived attacks and do not share my outlook.

    You wrote the book eight years ago and I have read the book now finding its tales still very topical. Do you think that anything has actually changed since then, if so, how?

    Most drivers are more courteous and less aggressive, now. There is less smoking in public places and people seem more interested in healthy living. On the one hand, I hope Romania continues to change in such positive ways. On the other hand, I hope some things will not change: Romanians’ hospitality, their generosity, quick wit, fatalistic sense of humour, their remarkable ability to improvise with tools, and their ability to make fun of the bad times – haz de necaz. Those aspects I will always respect and cherish.

    Many young characters in your tales show personal ambitions, various degrees of cynicism and little interest in getting involved in community issues. Can you see now a change in the general trend, with young generations more politically and socially active, see Rosia Montana and Colective movements, or do you consider them niche phenomenons of major cities?

    It is several years since I’ve lived in a Romanian city, so I can only answer based on my experience of life in our mountain village. Here, young people seem keen on community issues. For example, for the last two years, my wife Angela Nicoara and I have been picking up litter from local roads and forests. A dozen local children got involved and we’ve since gathered almost two tonnes of litter. I’ll tell you more about this later.

    The gap between the richest and the poorest in the country has widened further, with the middle class caught up in a quagmire and in search of a new political representation. What should we be expecting at the oncoming political elections due on December 11? Anything new under the sun?

    As a politician might say, I’m glad you asked me this, although, actually, I’m not glad, because I have no idea what to expect. Put it this way, if Trump can get to the White House (as I expected), and if the UK can exit the EU (as I did not expect), then anything is possible in Romania. I hope for the best, but fear the worst.

    Many of your characters experience at least a period abroad, which always help them observe the country more lucidly. These diaspora people, some leave for good, some finally chose to come back. Is there a role diaspora people can play in the present/future of this country?

    Politically, ex-pats can help by voting in Romania’s elections. Financially, they can help by sending cash home, and many do. Culturally, they can help by making sure that their children are raised as bi-lingual speakers, this is very important. Personally, they can help by being decent people – as so many are – in order to help counter balance any negative stereotypes of ‘Romanians’. In my experience, travel changes us all, sometimes for the better. So, there’s hope for us all, and my suggestions could apply equally to Brits; we are no angels.

    Among the many pending issues facing the Romanian society, lack of a basic environmental education and total absence of a recycling and waste management policy represent major ones. Tell us about your video about picking up litter, and about the idea behind it.

    Angela and I decided to make the video after a villager yelled an ironic comment while we were picking litter. Before I tell you what that person yelled, a little context might help, as follows.

    Despite our many invitations to them, no local adults help us to collect litter in Magura. Instead, they offer excuses, e.g. I’m too busy. Some parents even tried to forbid their kids from helping us to tidy up because they think it’s undignified, dirty, and ‘not our problem’, even though many of them own guest houses and thus benefit from a cleaner village for tourists to enjoy. Naturally, we are disappointed, especially as our work takes only a couple of hours every month or so. Anyway, moving on …

    We were with local kids collecting litter from a mountain lane, when a local yelled, “Hah! Vino Mama, sa ma vezi cum lucrez la spatii verzi!” Angela told me that this was a sarcastic reference to a communist-era work slogan: “Mum, come and see, I’m working in the green spaces!”

    We’d been thinking for a while about making a music video with some of the village kids who attend my ukulele class, but we had not chosen a song from our repertoire. So, we decided to use that communist-era slogan for a new song about collecting litter, a song urging local parents to help us. We were sitting in a pizza place at the time and we heard ‘Every Breath You Take’ in the background. We realised we could adapt Sting’s nice tune but add our own lyrics about litter in Magura. Angela found an experienced cameraman to help shoot and edit the film, and a neighbour choreographed traditional dance steps for the kids. We added a comic touch – dancing with bags full of rubbish – and paid homage to Bob Dylan with our flash cards listing the sorts of things we find in the village. You name it, we find it!

    The video shoot took several days and was very hard work in hot weather. It can be tricky coordinating a dozen kids, for shot after shot, but they were very cooperative. When they got tired, we told them, “This is how it feels to be a movie star, it’s a lot of work!” That made them feel a bit famous and they’d brighten up.

    So far, our video has had around 30,000 hits on the Internet and dozens of supportive comments. Lucian Mandruta from DigiFM posted it on his Facebook page, which helped. If you wish to watch, here is the link: ‘Amazing Romania!’ Please share, every thumb helps. But will local adults? We’ll see.

    For all its shortcomings and chronic problems, Romania is the place you have decided to call home. What is it that attracts you most here?

    When I first came to Romania in 1994 as a BBC reporter, it felt very different to other countries and attracted me in a way I could not resist. I had never visited a former communist state in eastern Europe and found this one fascinating; most of all, I liked the people. A few months later, I came back to teach at Scoala BBC in Bucharest and stayed a couple of years. I met Angela and then we moved to Bosnia, the first of seventeen different countries that we would live in during the twenty years that followed. Our life was very nomadic and we had no chance or wish to settle, but, eventually, we took a break and bought a house here in the mountains of Transylvania. We like the clean air and quiet atmosphere, after years living in big cities such as Jakarta, Khartoum, and Baku. We like pets but were never able to own any, since we moved too often, so this village is ideal for those we adopted recently – three dogs and five cats.

    Last summer, a Romanian friend told us that he has no desire to live anywhere else because, ‘This country has just enough rules’. That made us smile and I know what he means. For all its problems, as you say, Romania has a special something that you won’t find elsewhere. When I’m away, say, in England for a few weeks, I miss that special something, whatever it is. However, Angela and I do get restless after too long in one place. Once a nomad, always a nomad, perhaps? Our feet are starting to itch, I fear!

    If a ‘sufletul romanesc’ exists, what would you think it consists in? What role plays irony in it?

    What’s in a Romanian soul? Great question! Certainly an affinity with the land – Romanians seem to enjoy a deep and lasting link to the countryside and the pleasures it affords. Every Romanian seems to know where to procure good fruit and vegetables, or the best tuica that money cannot buy, and so on. I think such links keep one’s feet on the ground, literally and metaphorically, although it took me a while to appreciate that, perhaps because most people in the UK no longer have those connections. What else? Hmm, perhaps an ability to get around the rules – or such rules as exist – to survive. Certainly a morbid fear of death by draughts, an allergy to seat belts (especially in an aircraft), and a chronic inability to wait in an orderly queue. Irony, yes, definitely. It’s the ace of the cards that life deals you, here.

    Any other project coming soon?

    I’m working on a collection of short stories set in Transylvania.

    Cover photo by Cosmin Bumbuț

  • Mum, come and see… Kids Singing Green

    Mum, come and see… Kids Singing Green

    While Romania needs to hurry up to cross the 2020 finish line with all its EU waste targets met, the situation on the ground becomes more and more unsustainable. At its core we find a cultural challenge which needs tackling by any possible means. Irony and direct involvement may prove amazing tools, as Amazing Romania! seems to suggest. It is a video produced by Mike Ormsby and Angela Nicoara who chose to deal with the Romanian green issue in a very creative way.  In his RWD interview Mike Ormsby has revealed us the origin and the funny details behind the video shot in Magura and starring very special (and crucial) actors. 

    Enjoy the video and, above all, share it!

    Excerpt from RWD interview to Mike Ormsby:

    “Angela and I decided to make the video after a villager yelled an ironic comment while we were picking litter. Before I tell you what that person yelled, a little context might help, as follows.

    Despite our many invitations to them, no local adults help us to collect litter in Magura. Instead, they offer excuses, e.g. I’m too busy. Some parents even tried to forbid their kids from helping us to tidy up because they think it’s undignified, dirty, and ‘not our problem’, even though many of them own guest houses and thus benefit from a cleaner village for tourists to enjoy. Naturally, we are disappointed, especially as our work takes only a couple of hours every month or so. Anyway, moving on …

    We were with local kids collecting litter from a mountain lane, when a local yelled, “Hah! Vino Mama, sa ma vezi cum lucrez la spatii verzi!” Angela told me that this was a sarcastic reference to a communist-era work slogan: “Mum, come and see, I’m working in the green spaces!”

    We’d been thinking for a while about making a music video with some of the village kids who attend my ukulele class, but we had not chosen a song from our repertoire. So, we decided to use that communist-era slogan for a new song about collecting litter, a song urging local parents to help us. We were sitting in a pizza place at the time and we heard ‘Every Breath You Take’ in the background. We realised we could adapt Sting’s nice tune but add our own lyrics about litter in Magura. Angela found an experienced cameraman to help shoot and edit the film, and a neighbour choreographed traditional dance steps for the kids. We added a comic touch – dancing with bags full of rubbish – and paid homage to Bob Dylan with our flash cards listing the sorts of things we find in the village. You name it, we find it!

    The video shoot took several days and was very hard work in hot weather. It can be tricky coordinating a dozen kids, for shot after shot, but they were very cooperative. When they got tired, we told them, “This is how it feels to be a movie star, it’s a lot of work!” That made them feel a bit famous and they’d brighten up.

    So far, our video has had around 30,000 hits on the Internet and dozens of supportive comments. Lucian Mandruta from DigiFM posted it on his Facebook page, which helped. If you wish to watch, here is the link: ‘Amazing Romania!’ Please share, every thumb helps. But will local adults? We’ll see.”

     

     

     

     

     

  • My Take – Mărțișor, and March Is the Sweetest Month

    My Take – Mărțișor, and March Is the Sweetest Month

    These days a Mărțișor is pinned down on my jersey as my Romanian experience has been producing a major change in my mental attitude 

    March is the sweetest month in Romania. Here springtime is a deeply felt moment in the calendar year: climate change allowing, it pops up after long frozen winters melting away any form of hardship. On Mărțișor day, March 1, Romanian women of all ages are presented with spring tokens called Mărțișor by male friends and beloved ones, to which they reply with a smile and a kiss on cheeks, instinctively aware – and proud – of their crucial role in nature’s life cycle.

    Mărțișor are tiny adornments tied with a red and white entwined cord. They belong to a very ancient Romanian tradition with roots back 8,000 years. The red cord symbolises the winter and the white one the spring, which other symbols of joy and good luck such as a four-leafed clove or a heart are tied by. It is also said that white and red are strong amulets against evil eye and a token of purity and innocence. The Mărțișor is worn for a week or two on outer garments.

    These days a Mărțișor is also pinned down on my jersey, which I have not been doing as a form of acquiescing to a local habit but as the effect of a major change occurred in my attitude. Let me try to sum it up in three steps.

    1 What Am I Doing Here?

    Admittedly, when I lived in Italy I never used to be a keen observant of Woman’s Day rites on March 8. Rather, any all-female celebratory dinner made me feel bored and, if attending, I would invariantly end up with the same old question: “What Am I Doing Here?”, keeping at a safe distance from any form of Indian-reserve syndrome having always been my major concern.

    2 Us vs. Them 

    Then we moved to Romania and my perception changed. I packed and took along also some bits of cultural bias, like the Us vs. Them commonplace: Us Italian vs. Them Romanian Women. On my first flight from Milano to Cluj Napoca I started taking notes on every Romanian woman onboard. Far from realizing that I was just contemplating my mirror images: women flying back home, încet încet/ slowly slowly regaining their native background, so allowing themselves to drop their exotic masks to recover their original selves. Anca, Camelia, Adina: no more the foreign wife or fiancée, the saleswoman, the waitress, the badante, the nurse, the businesswoman, the hairdresser, the gorgeous East European beauty, but just themselves as  daughters, sisters, mothers, lovers, singles. In fact, at that time, as aware as I was of the risk of generalization, I could not help assimilating them all to a unique threatening Romanian female type. To serve my prejudices I could even indulge in tracing back some of their proud beauty – long thin legs, fiery eyes – to their Dacian ancestors so powerfully outlined in the relief scenes on Trajan’s Column in Rome. Take  its scene XLV: nude and bound men shown being tortured by women, the latter traditionally identified as Dacian women (war widows?) maltreating captured Roman soldiers. Also  back to present times, Romanian women seemed quite successful in conquering the hearts of a number of “our” Western European men…

    Step 3 – The Reckoning

    Since that first naive flight to Romania I have had the opportunity to unpack my heavy luggage and finally get rid of whole sets of shameful prejudices. Now that I have begun to master Romanian, I can get closer and closer  to the people and their very thoughts. Which, in fact, for an Italian, are not so abysmally distant. By now most of my acquaintances and even friends happen to be Romanian women of various ages and cultural background:  from the artist to the hairdresser, the school teacher or the entrepreneur, the doctor and the journalist. I realize now that we have so much more in common than what would make us different.  So, no room left for prejudices, just a healthy sense of challenge due to their many talents: their  inborn sense of femininity, their resilience, their pride and their will to fight for a better future. I should stop here not to incur in another set of dangerous generalization and just chose to celebrate the great news: Spring is coming! Happy Mărțișor to us all.

  • Story – Earth in Your Hand

    Story – Earth in Your Hand

    This visual story takes us to Guşteriţa/ Hammersdorf in the heart of Transylvania. A district of Sibiu since 1950, it is one of the oldest Transylvanian Saxon settlements in the area still preserving its original typical rural structure.

    It features Earth in Your Hand, a 2004 documentary by Eva Stotz, a German filmmaker telling us an apparently simple story made with few words and silent scenes. In fact a whole world on the brink of disappearance is evoked. It begins with a  close observation of the daily lives of the few Saxon inhabitants who did not follow the German diaspora soon after the collapse of Ceausescu’s regime and winds up wondering about the true meaning of “earth and motherland”. Stotz is interested in reporting stories of people striving to survive the impact of globalization, keen on recording different forms of human resistance. In a way she looks for clues of hidden social tensions, her narrative investigating the inner energy places and people emanate through their apparently plain existence.

    More than a decade has gone by since the documentary was shot, changes have been occurring even in Guşteriţa and its older inhabitants have been joining their ancestors in the local graveyard. Yet I believe that the spirit of place is still there, as compelling and timeless as ever.

     

    Between the collapse of the Ceausescu regime in December 1989 and the spring of 1990, half a million indigenous so-called “Saxons” fled Romania for West Germany. It was the most astonishing, and little reported, ethnic migration in modern Europe. In the seven towns and 250 villages of Saxon Land in southern Transylvania, no less than 90% of the German-speaking population packed its bags and committed eight centuries of history to memory. They drove west to a country few of them knew, enticed by the notorious “return to the fatherland” speech of the German politician, Hans-Dietrich Genscher.

    Continue to read The forgotten Saxon world that is part of Europe’s modern heritage by Simon Jenkins, The Guardian, 2009

     

     

  • Soundtrack – Lautari from Clejani, the music inside!

    Soundtrack – Lautari from Clejani, the music inside!

    Caught between the rejection of individuals and the acceptance of their culture, the Roma citizens are both discriminated against and cherished in the Romanian society: their ‘gypsy’ music, rituals, ways of dressing cannot but inspire and attract for their sense of joyfulness, freedom and creativeness.

    In fact, the issue of the integration of the Roma people in the Romanian society is a very long story, here we chose to get only to Clejani, a small village in the South of Bucharest, where the amazing adventure of a group of Roma musicians, lautarii din Clejani,  started some twenty years ago taking them across Western Europe and the USA. Johnny Depp having had also his minor role at it.

    Two documentaries produced in 2001 tell the same story in slightly different ways. Taraf De Haïdouks – No Man Is A Prophet In His Own Land  is directed by Elsa Dahmani, features English subtitles and is meant for an international audience. Lăutarii din Clejani – povestea ultimei generații is directed by Mihai Voinea and Alex Varninschi, produced by the newspaper group Gandul and speaks to the Romanian audience. Both provide a mine of information about the Lăutarii, a rich tradition of Roma musicians that contributed to flavor the lives of so many Romanians and that the impact of globalization is now threatening to force to silence for good.

  • Interview – Rechi Nashul

    Owner of Reky Travel, Rechi Nashul is a young entrepreneur from Sibiu quite active in promoting Romania and especially his native Transylvania.

    I first met Rechi in Rășinari, a Saxon village 13 km away from Sibiu. He was one of the organizers of an Electric Camping/ Full Moon Picnic event. Rechi and everybody at the party made me feel completely at home. Curiously enough, among the participants was also Tudor Giurgiu, the initiator and president of the Transilvanian Film Festival, who the previous night had presented in Piata Mare presiding the  Sibiu Festival. The food, the music and  the full moon completed the scene. Three years since then and I am glad to dedicate the first RWD interview to him, who has never stopped committing in a number of engaging projects.

    You belong to that young generation that has chosen to invest their energies in Romania instead of leaving the country  in search of different opportunities. What made you do that?

    I discovered very early that our region has a lot to offer. Transylvania and Sibiu are nicely located between the Carpathian Mountains. In the highlands surrounding us there is a unique cultural landscape with beautiful villages and rich natural and cultural heritage. If you have a passion in showing this to visitors the decision to stay here and live like anywhere else in Europe is not very hard. After 2000 the opportunities where everywhere so I just had to pick one up.

    Can you perceive this kind of choice as a growing trend?

    It is still a small trend but especially among the young couples and families I can see a lot who are chosing to stay or move here and enjoy a more quite livestyle but still be very active in developing their country. All you need is a good cause and you can easily find the means to achieve what you wish.

    Can you tell us something about your field of activity?

    We are living out of tourism, the so called Incoming Tourism. So we bring visitors from Austria, Germany and Switzerland on cultural and active trips in the region and show them what is worth seing, the small highlights of the less seen Romania.
    Since 2008 we started organizing gastronomical events where we cook with the local communities and show their traditions, old recipes, local products, music and promote everything that belongs to the local heritage. We reached now twenty events in the rural area, one festival in Sibiu and many events in the cities across Transylvania, all of them with a total of some 3.000 participants per year.

    Networking seems a key factor in your business model – if we may call it so – can you tell us about My Transylvania project, how it works and who it involves?

    We started to cook with the local communities and in the beginning we had as participants young people from everywhere in Romania interested in developing the rural areas. Everyone has a small project, works for a tiny initiative and has very creative ideas. So it became a kind of a platform where we exchange information, celebrate each others’ results and promote sustainable development. There are three NGOs which are directly involved and about ten new partners each year. Every events we organise is meant to promote some new small business or initiative in the region.

    What is actually meant by turism alternativ in Romania?

    We don’t want to show what is already well known, we hope for our visistors to look for forgotten villages or remote areas. We tell the beautiful stories of the people we meet, eat together, listen to local music and celebrate our diversity. There is also a fight for less bureaucracy, authentic experiences cannot always be payed via a bank transfer and get invoiced for. The majority of the local producers don’t have a registration but as a physical person you cannot just be illegal. So we want to show that a lot of unexpected resources are there to be used.

    Are your target clients only foreigners or also locals?

    Some 40% of the visitors are young families and coming from cities around Romania and about 50% are foreigners with their residence in Romania. Only 10% are what one would call typical tourist from abroad.

    What do you believe are the key elements which still need to be developed and communicated more effectively abroad in promoting your country? 

    There is a gap between the real Romania with its hidden beauties, most of them in the countryside, and the big highlights such as Dracula, Bucharest and cities in Transylvania. Beside the asphalted carways there is a different country, one full of rich culture and nice natural landscapes.
    The gastronomy, the traditional agriculture, the nice traditions and interesting stories of local personalities are not even mentioned in the promotion campaigns abroad.

    Do you believe in a suflet romanesc (romanian soul) or your Transylvanian roots are much deeper and stronger?

    I believe in being a European 😉 and enjoy having the history of three ethnic roots in my family. As a European I am happy that we can preserve a huge cultural diversity. For example, the local cuisine in our region has influences from a total of eleven European kitchens. Where can you find something similar?

    Do you consider yourself more of a European citizen or a Romanian one?

    I am a Romanian and a European citizen. Recognizing the value of the local culture instead of the global standardization is what I am fighting for. The nature and territory, the climate and people from the area give us a unique charactere in Europe, similarly to many other regions across the continent.

    You were just a kid when Ceausescu’s regime collapsed, now have your own kid. With what kind of memories do you look back at that era, in what way – if ever – do you think it has affected you personally and with what kind of results?

    I can now appreciate some of the good education and the tighter family connections we had in those times. Being a child then, I have only good memories. But I am very happy to live the present days with a lot of freedoms and personal liberty to pursue  own’s goals and ideas.

    Where – if anywhere – would you draw the line over the past 26 years which separates the old from the new Romania? Has new Romania already been born?

    I think that a new Romania is on the way to be born. We have now the most acceptable political power in the last 26 years and a lot of people of the second generation (35-40 years) are thinking on changing the way everything works. If not by politics than through their work in NGOs.

    What is in store for 2016, which the highlights?

    There are small highlights in our agenda:

    • We had in January for the first time a live cooking event outside Romania, in Vienna with Transylvanian Cuisine, to promote the Romanian gastronomy.
    • We have this year eleven new villages in our programm, which had never before any kind of event going on there 😉 It should be good.
    • There are also some new concepts in the gastronomy festival in Sibiu (Transilvania Gastronomica) for which we hope to be awarded a nice title for 2019, European Region of Gastronomy. In 2016 the award went to Catalunya in Spain and Minho in Portugal and for 2017 Lombardia and Arhus in Central Denmark where the winners.
    • We hope to open an old barn as a gastronomy school in October, serving the small producers in the Southern Transylvania.
  • Planner – Transylvanian Brunch!

    They search for old, forgotten recepies and cook them with the local communities, neighbourhoods or families in the villages. Therefore they use only local and seasonal products, making you experience the local culture during a hike and a tour of the village.

    The private events which they offer are organized on demand, in the Hartibaciu & Tarnava region, between May and the middle of October. The prices and the minimum of participants are in the table below.

    Transilvanian Brunch EUR 25,- / Pers., Min. 30 – Max. 200 Pers.
    Picnic in Cindrel EUR 25,- / Pers., Min. 40 – Max. 200 Pers.
    Flavours and sounds of Transylvania EUR 25,- / Pers., Min. 30 – Max. 80 Pers.
    Electric camping EUR 35,- / Pers., Min. 50 – Max. 100 Pers.
    Cina in natura EUR 50,- / Pers., Min. 40 – Max. 80 Pers.

    Check below the 2016 Agenda

    AgendaTG_2016

     

    Transilvanian Brunch

    Find out more about Transylvania

    Rechi Nashul

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