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Artykuły w czasopismach na temat "Romanian Folk art"
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Apostol, Snejana. "Some characteristics of the development of choreographic art in Romania and the Republic of Moldova: the values and educational framework". Studia Universitatis Moldaviae. Seria Științe ale Educației, nr 5(165) (lipiec 2023): 190–95. http://dx.doi.org/10.59295/sum5(165)2023_31.
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The given article presents an analytical approach to the evolution of choreographic art in Romania and the Re-public of Moldova. Emphasis is placed on analyzing the evolution of classical stage dance as well as folk dance. It should be noted that the development of choreographic art in Romania was strongly influenced by European choreography. The 19th and 20th centuries were the most significant for the development of Romanian ballet. The most famous classical ballets were staged: Zâna păpușilor, Lacul lebedelor, Priculiciul etc. The fame of Romanian ballet was brought by: Anton Romanowski, Floria Capsali, Oleg Danovski. In the Republic of Moldova, ballet - developed under the influence of European and Russian choreography, having an important base - folk dance. Namely, folk dance created premises for the establishment of popular stage dance, represented, first of all, by the academic ensemble ,,Joc” – the first professional folk dance ensemble, led for several years by people’s artist V.Curbet.
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Theodorescu, Ana. "Theodor Vasilescu – The Dancer Who Took the Romanian Folklore all over the World". History of Communism in Europe 11 (2020): 215–31. http://dx.doi.org/10.5840/hce20201110.
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The main theme of the proposed paper concerns the professional training and artistic activity of Theodor Vasilescu, choreographer and dancer, specialized in folk dance, with a rich international activity during the communist regime. The analysis will focus on illustrating how the artist’s biography was influenced by a new trend in the satellite states of the U.R.S.S., namely that of transforming traditional dance into art with a political substratum. Also, the main thread of the article will consist in revealing the specific type of relationship between the artist and the regime, dominated by a permanent awareness of the mutual benefits of this partnership: for the dancer Theodor Vasilescu it was the chance to develop a successful career, which for the propaganda apparatus implied a strong image campaign for Romania, abroad. Regarding the temporal framework, the analyzed period will focus on the regime of Nicolae Ceaușescu, 1965-1989, relevant in Theodor Vasilescu’s career path, as well as in the dissemination of his work results. There are three important aspects that will be analyzed in this article: first, the recovery of an important cultural trend in Romanian history, when, through the influence on the Soviet chain, folklore and traditional dance became an art form strongly subsumed to an ideology. This aspect led to the foundation of many Folk Ensembles with a specific type of artistic manifestations, including folk dance. At the same time, it will be illustrated how the regime was involved in financing and promoting this type of dance, by including it in the development of the most important national performances, by encouraging research in this field and creating professional opportunities through training and also by organizing an International Folklore Festival, “Romania 69”. This approach definitively changed the professional career of Theodor Vasilescu. The last aspect consists in presenting the international career of the choreographer, as a direct result of the increased interest that the communist regime had in promoting Romania’s image abroad. This made the Romanian folk dance very popular in countries such as Netherlands, Japan, Canada, Germany. Also, the frequent tournaments con-tributed to the increase of the Securitate’s interest in his daily activity. The main categories of sources for documentation will consist of: my personal archive which contains two interviews with Theodor Vasilescu, documents in the funds and collections of the National Archives of Romania (The Central Committee of the Romanian Communist Party, Propaganda and Agitation Section, Organizational Section), also those of the National Council for Studying the Securitate Archives.
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Pătraş, Andra Daniela. "Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1". Studia Universitatis Babeş-Bolyai Musica 67, nr 1 (30.06.2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.
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"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
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Kaya, Özlem, i Sinziana Romanescu. "An Analogical Approach to Colors and Symbolism in Romanian and Turkish Folk Art". Art-Sanat, nr 15 (5.02.2021): 161–81. http://dx.doi.org/10.26650/artsanat.2021.15.0007.
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Naie, Lăcrămioara. "4. Project “Easter Triptych”". Review of Artistic Education 1, nr 23 (1.04.2022): 34–39. http://dx.doi.org/10.2478/rae-2022-0004.
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Abstract The “Easter Triptych” project was conducted in six annual editions (except for 2020 and 2021 – the years of the Coronavirus Pandemic). It was conceived and achieved in the name and in the spirit of the three important moments in the history of our humanity: Birth, Passion and Joy of the Resurrection of our Savior Jesus Christ. This great religious cultural project was attended by important personalities of Iaşi and not only, such as lyrical artists from the Romanian National Opera Iaşi, church persons from the Metropolitan Church of Moldavia and Bukovina, university professors, ethnographers, craftsmen and students. We were joined by Radio Romania Cultural Bucharest, Radio Iasi, TV Iasi, Radio “Trinitas” and “Moldova” National Museum Complex Iasi. With this important project, I also went to Austria, Vienna, to the Romanian Cultural Center and to the Republic of Moldova, to “Alecu Russo” State University Balti. Each edition presented under its generous scope, equally traditions, customs and beliefs firmly established in our soul and conscience as Romanians. The events included moments of musical art: classical musical works (lyrical, instrumental, choral), Christmas carols, Easter songs, religious poems, book launches, exhibitions of decorated eggs from the Bukovina area, exhibitions of icons, crosses, carpets woven in monasteries, ceramic objects from Horezu, wooden sculpture objects and traditional folk costumes. In addition to these, there was a CD: “Easter Triptych”.
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Ioniță, Raluca Dobre. "The Second Sonata for Piano and Violin, Ópus 6 by George Enescu". Review of Artistic Education 21, nr 1 (1.06.2021): 149–56. http://dx.doi.org/10.2478/rae-2021-0018.
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Abstract The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements of the Enescian musical language are transposed in the free rhythm, the heterophonic construction, the complexity and subtleties of dynamics and agogics, the timbre color, as well as in the synthesis between freedom and rigor in the creative and interpretive act.
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Toșa, Ioan, i Gabriela Rădoiu Leș. "Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)". Anuarul Muzeului Etnograif al Transilvaniei 32 (20.12.2018): 266–300. http://dx.doi.org/10.47802/amet.2018.32.16.
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The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.
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Constantiniu, Theodor. "Folklore and Dialectical Materialism. A Case Study of Ethnomusicological Research in Communist Romania". Studia Universitatis Babeş-Bolyai Musica 65, nr 2 (21.12.2020): 259–75. http://dx.doi.org/10.24193/subbmusica.2020.2.17.
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"Romanian ethnomusicology has a series of less discussed and, implicitly, less understood topics. One of them is the relatively vast literature that addresses the new folklore that appeared after the installation of the communist regime and the folk music of artistic ensembles performed on stage. Most of the texts written on these subjects display a strong political and ideological pressure. Consequently, they are either forgotten or superficially perceived as evidence of a repressive regime, adding to the general belief that the communist regime turned peasant art into an instrument of propaganda. Starting from a study signed by Ioan R. Nicola on music collected from Mărginimea Sibiului, we will try to understand the theoretical horizon and the ideological limitations that influenced the way researchers wrote about contemporary music phenomena in the second half of the twentieth century. Despite the constraints, we argue that ethnomusicologists had at hand a coherent system of analysis of the folk music, which they had to adapt to the official ideology. Keywords: new folklore, amateur artistic ensembles, folk performance, ethnomusicologic research, communist ideology"
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Paic, Sebastian. "Contribuție la studiul oualor împistrite în Țara Lăpușului". Anuarul Muzeului Etnograif al Transilvaniei 35 (20.12.2021): 81–91. http://dx.doi.org/10.47802/amet.2021.35.04.
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Lăpuș ethnographic region is still a place where reach and fascinating traditional heritage is organically preserved. Aside throat singing, brotherhood rituals, archaic old ways. The motifs are part of a larger set of traditional decorative spectra and costumes and other ethnographical facts, Easter egg painting is conducted under also the technique and the chromatic choice are very old. Nevertheless, the most surprising aspect regarding egg painting in Lăpuș area is the way the performers understand to compose the decoration, suggesting an archaic artistic expression related to a traditional view of the world and art creation mechanisms. This paper aims to fill a lesser known chapter of Romanian folk art, the style and motifs of Easter egg from Țara Lăpușului, Transylvania. Keywords: painted eggs, Tara Lăpușului, decoration of the eggs with wax, decorative motifs, stylistics
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Boitсova, Aleksandra Aleksandrovna. "The dynasty of iconographers Rogachevsky-Nikita in the context of the history of the Old Believer Romanian rural localities Zhurilovka and Sarikei". Культура и искусство, nr 12 (grudzień 2020): 116–23. http://dx.doi.org/10.7256/2454-0625.2020.12.34713.
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This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.
Rozprawy doktorskie na temat "Romanian Folk art"
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Beissinger, Margaret H. "The art of the lăutar : the epic tradition of Romania /". New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb371466593.
Pełny tekst źródłaKsiążki na temat "Romanian Folk art"
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Balas, Edith. Brancusi and Romanian folk traditions. New York: Columbia University Press, 1987.
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McNulty, Karsten D. Romanian folk art: A guide to living traditions. Farmington, Conn: Aid to Artisans, 1999.
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McNulty, Karsten D. Romanian folk art: A guide to living traditions. Farmington, Conn: Aid to Artisans, 1999.
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Balas, Edith. Brancusi and Rumanian folk traditions. Boulder: East European Monographs, 1987.
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Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.
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Stoica, Georgeta. Dicționar de artă populară. București: Ed. Enciclopedică, 1997.
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Stoica, Georgeta. Dicționar de artă populară. București: Editura Ştiințifică și Enciclopedică, 1985.
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Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.
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Beissinger, Margaret H. The art of the lăutar: The epic tradition of Romania. New York: Garland, 1991.
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Dancu, Dumitru. Icoane pe sticlă din România. București: Editura Meridiane, 1998.
Znajdź pełny tekst źródłaCzęści książek na temat "Romanian Folk art"
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Urdea, Alexandra, i Magdalena Buchczyk. "Folk Art Reassessed". W The Oxford Handbook of Slavic and East European Folklore, C38P1—C38N2. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.38.
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Abstract This chapter critically reassesses Romanian collections of “folk art” or “folklore” through the the lens of material culture studies. While it is conventional to think about rural artifacts as indicators of regional ethnographic zones, scholars of rural objects in Romania rarely reflect on the social role of these collections. Against this background, the chapter recognizes that such objects are constantly produced, acquired, displayed, and deployed to mark a range of complex practices of representation and identity formation in heritage and vernacular contexts. Based on anthropological research in the settings identified as sources for folk art objects, it demonstrates that a material culture approach offers a unique perspective on the variety of normative categories and meanings of the artifacts depending on their historical context and changing social and political uses. It is proposed that ethnographic studies of rural objects can open novel research possibilities and reveal the situated, social, historical, and political relations in which the things are entangled.
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Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange". W Narratives Crossing Borders: The Dynamics of Cultural Interaction, 123–44. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.
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In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a central role in Cabaret Voltaire and other Dada related events. Art historical scholarship on Dada minimized this heritage in order to situate Dada within the Western avant-garde canon. However, I argue that the five young Romanians who were present on the first night of Cabaret Voltaire on February 5, 1916 brought with them from their home country certain Jewish and Romanian folk traditions, which helped form Dada’s acclaimed reputation. The five Romanians—Tristan Tzara, Marcel Janco and his brothers Georges Janco and Jules Janco, and Arthur Segal—moved to Zurich either to escape military conscription or to continue their college studies. By the start of the twentieth-century, Romania’s intellectual scene was already a transcultural venture, with writers and artists studying and exhibiting in countries like France and Germany. Yet, Zurich’s international climate of émigrés from all over Europe allowed the young Romanians to fully expand beyond nationalistic confines and collaborate together with other exiled intellectuals. Tom Sandqvist’s book Dada East from 2007 is the most recent and most comprehensive study of the Romanian aspect of Dada. Sandqvist traces Janco’s and Tzara’s prolific, pre-Dada time in Bucharest, along with the folk and Jewish sources that Sandqvist claims influenced their Dada performances. For instance, Tzara’s simultaneous poems, which he performed at Cabaret Voltaire, may derive from nineteenth century Jewish theater in Romania and from Hasidic song rituals. Moreover, the Dada performances with grotesque masks created by Janco relate to the colinde festival in Romania’s peasant folk culture. In my paper, I aim to analyze Sandqvist’s claim and answer the following questions: to what extent did Janco and Tzara incorporate the colinde festival and Jewish theater and ritual? Was their Jewish identity more important to them than their Romanian identity? And, lastly, how did they carry Dada back to Romania after the war ended and the Dadaists in Zurich moved on to other cities?
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Plotnikova, Anna, i Natalia Golant. "The Beginning and End of Life as a Single Complex of Ideas (Based on Ethnolinguistic Materials of the Beginning of the 21st Century)". W Semiotics in the Past and Present, 125–38. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/7576-0488-6.08.
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The article explores lexical and ritual-magical parallels from two ritual spheres - native and funeral-commemorative - on the basis of field material collected by the authors in two different archaic regions: Slavic and Romanesque. Important fragments from both spheres of ritual, accompanying the beginning and end of a person's life, are considered on the basis of information gleaned from the Russian Old Believers in Romania (Dobruja) and the Vlachs (Romanians) in eastern Serbia (the vicinity of Zajecar). Lexical, etymological, phraseological and paremiological data are involved to confirm the position on the correlation in the traditional folk consciousness of the moments of birth and death of a person. When analyzing the Russian tradition in Romania and the Vlach tradition in Eastern Serbia, the authors also turn to a wider cultural and linguistic background, drawing on material from various Slavic languages (Serbian, Bulgarian, Slovak, etc.), Romanian and, more broadly, Indo-European.
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Bârlea, Roxana Magdalena. "Representative Figures Outlining the Romanian Women Imagery". W Advances in Linguistics and Communication Studies, 24–43. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6458-5.ch002.
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The chapter focuses on a gallery of representative figures of Romanian women imagery, with a view to fostering the cultural dialogue. It is an approach to understanding Romanians in general, with their history, traditions, symbols, and myths, seen from a women's studies point of view. The women who are chosen as examples are real personalities, such as historic characters, creators of Romanian symbols, past or present public figures who have had a significant impact on the women's national imagery. The chapter also uses fictional examples, eg. protagonists of folk or cultured literature or national legend heroines. Through these female figures, the author aims at assembling an image of the Romanian society with a focus on women's representations, in order to “decode” key cultural and civilizational elements, explain attitudes, and thus, guide non-native learners through their understanding process of Romanian culture and values.
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Rice, Timothy. "Béla Bartók and Bulgarian Rhythm". W Bartók Perspectives, 196–210. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0014.
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Abstract Béla Bartók first encountered Bulgarian folk music in 1912, when he recorded seven Bulgarian songs in a village near Timioara in Romania’s Banat region.1 Five of the seven transcriptions are parlando melodies.
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Bohlman, Philip V. "7. Empire, decoloniality, and the globalization of world music". W World Music: A Very Short Introduction, 100–115. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0007.
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‘Empire, decoloniality, and the globalization of world music’ takes empire and globalization as points of departure, exploring street music in Romania and wedding music in Kolkata—global music performed locally that collapses the difference between world music and traditional folk music. The globalization of world music has been brought about by the development of modern cities into ‘global cities’, improved recording technologies, easy media access, and the expansion of ethnomusicology. The Rough Guides to World Music provide extensive documentation of the postmodern encounter with world music, and perhaps unintentionally act as a guide to recent trends in ethnomusicology.
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"Roma Musicians, Folk Art and Traditional Food from Romania at the Paris World Fairs of 1889 and 1900". W World Fairs and the Global Moulding of National Identities, 144–69. BRILL, 2021. http://dx.doi.org/10.1163/9789004500327_007.
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Antokoletz, Elliott. "Modal Transformation and Musical Symbolism in Bartók’s Cantata Projana". W Bartók Perspectives, 61–76. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0005.
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Abstract In the increasingly repressive political atmosphere of the 1930s, Bartók composed one of several planned cantatas to express his ideal concerning the brotherhood of neighboring nations—Romania, Slovakia, and Hungary. While the Cantata Profana (1930) represents the most explicit embodiment of his philosophy and symbolizes his personal commitment to the principles of national independence and personal freedom, the broad evolution of his musical aesthetics represents a more general symbolization of his humanistic philosophy. The conjoining of these social concerns with his lifelong musical endeavors to synthesize divergent Eastern folk music modalities and Western art music sources came to full fruition in the Cantata. In a letter to Octavian Beu, dated January 10, 1931, Bartók summarized his philosophical attitude concisely:
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Iridon, Cristina, i Cristina Gafu. "The Role of the Educational System in Promoting Local Culture Within Rural Areas in Romania". W Advances in Human Resources Management and Organizational Development, 233–55. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2965-1.ch010.
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The present chapter presents the results of a research developed within a series of rural schools in Romania (Prahova and Buzău County) regarding the role of the educational system in preserving the individuals' cultural identity and in promoting the local culture within the rural areas. Schools, be they urban or rural, are meant to contribute to capitalizing, reevaluating, and valuing the local cultural identity. The present analysis takes into account both the formal activities (included in the study programs or in the units of study planning: topics of discussion, study themes, optional courses, etc.) and non-formal events (traditional local festivals, school feasts, religious/folk celebrations, etc.) organized with the support of the local community projects, workshops conceived by the teachers in order to preserve the local culture and to make the young generation aware of their identity values.
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Арефьева, Наталья. "Анималистический лингвокультурный код в русских говорах Одесщины (на материале фразеологии)". W Słowiańska frazeologia gwarowa III, 107–29. Ksiegarnia Akademicka Publishing, 2024. http://dx.doi.org/10.12797/9788383680873.09.
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In this paper animalistic code, one of the most important cultural codes, which occupies a special place in the picture of the world of dialect speakers, on the material of phraseology of Russian island dialects of Odessa region of Ukraine, within the framework of natural code space, is analyzed. The phraseological units of Odessa region, grouped around this code, are considered against the background of national and dialectal phraseology, as well as against the background of the phraseology of other dialects / languages functioning in the immediate environment – Ukrainian, Bulgarian, Moldavian, Romanian. This approach, reflecting the current state of the phraseological fund of the South of Ukraine, helps to “reveal” interdialectal, interlingual and intercultural connections, makes it possible to “see” this or that phraseological unit in the system of all-Russian and Slavic phraseology against the broad background of Slavic folk culture. A significant part of phraseological units, grouped within the animalistic code, is at the intersection with other codes – economical, astronomical, axiological, actional, spatial. In the conceptualization of the animalistic code, both regional phraseological models and national, as well as interethnic ones, developed under the influence of a multilingual and multicultural environment, primarily under the influence of the Ukrainian language and its dialects, are defined.
Streszczenia konferencji na temat "Romanian Folk art"
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Adascalița-Crigan, Lucia, i Viorica Cazac-Scobioala. "Perpetuating the rhombus in traditional Romanian art". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.01.
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The rhombus as an ornamental motif of traditional art can be found both among the signs sewn on popular costumes or in interior textiles, on household objects, and among the shapes found in traditional cuisine. Being a geometrical motif with an archaic symbolic charge, characterized by perpetuity and cosmic sacredness, it was exploited and integrated into all the daily, celebratory and ceremonial circumstances of man. In this context, the objective of the study was directed towards the presentation of the multicriteria interpretation of this motif. On the one hand, the Rhombus carries a special semantic load, varied by the chromatic diversity and by the shapes it takes, and on the other hand, the aim is to record and fix some valuable images of the objects bearing this decorative element. Noted for its wide use, the Rhombus is found in its geometric meaning as a singular element, in ensembles of motifs and geometric compositions integrated with other inscribed motifs, but also in free rendering that involves changes in outline and proportions. Thus, knowing the multiple values of the rhombus allows the revitalization of some compositions from the national folk art and the preservation of this ancient primary ornamental motif, while the aesthetic valences and spiritual interferences will serve as a source of inspiration for today’s folk art creators. The paper presents the results of the study carried out within the State Program 20.8009.0807.17 REVICULT.
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Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.
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Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for promoting the values of folk art, and their creation would solve several problems: — make a signifi cant contribution to the development of traditional culture through an exhibition approach; — promote authentic traditional culture in the country and abroad; — solve a number of problems related to the sale of traditional art works of folk craft smen; — facilitate the process of studying and learning about traditional culture through organizing some workshops and seminars within them.
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Munteanu, Angela. "Contemporary interior space in promoting national identity of traditional Romanian stylistics". W Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.05.
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Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Moldovan villages. Th e traditional Moldovan-Romanian style is one with an ethnically artisanal rustic aspect, which conveys the idea of nature, through the colors, materials and fabrics used. Th e well-developed craft smanship from the end of the XIX century, the beginning of the twentieth century in Bessarabia puts a great emphasis on the Moldovan-Romanian national style through folk art. Man has always sought to increase the comfort of his homes, today the creators of interiors implement the traditional national stylistics, one with character and connection between health, family and the tradition of the sheavers.
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CHERECHEȘ, Roxana. "Romanian and international folk fairy tales". W Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p261-270.
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The most important romanian fairy tales literatures are Ion Vlasiu and Octav Pancu – Iași which develop a kind on interesting stories, well written by children of all ages, but the most fasinating thing is the power to imagine things that could change our lives, such as the ability to do well, to be different, to be very strong, to believe in things that you can see. As George Calinescu once said: „Childhood never disappears inside of us, it continues to be the source of our magic life.” Never give up reading books because those are our pixie dust of our existence.
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Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.
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Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.
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Verebceanu, Galaction. "Suffixal Derivation in the Sandipa Folk Novel Manuscript". W Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.16.
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Among the three means of forming words known to the modern/ Contemporary literary language (derivation, composition and conversion, however differentiated by the degree of productivity), the first method, and namely the suffixal derivation, has the highest yield in the text of the folk novel Sandipa (Romanian manuscript 824, copied in 1798 in the North of historical Moldova and kept nowadays at the State Library of the Russian Federation). Therefore, the derivative suffixes are analyzed, rendered, as a rule, in the form recorded in the manuscript, with selective references ordered as follows: first, the formations characterized by a wide spread in the era of copying the manuscript, having meanings known (only) in the old language are given, followed, as appropriate, by the words used in the contemporary language.
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Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova". W Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.
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Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and the development of ornament and architectural decoration. Th e issue addressed refers to the plastic language of universal motifs, which are deeply rooted in Romanian culture and which contain messages encoded in a string of symbolic connotations. It involves deciphering the message and interpreting the symbolic meaning of the Tree of Life, some aspects of the solar cult, symbols as images of the world and of the universe, and the multiple representations that are part of the animal iconography repertoire.
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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş". W Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.
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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.
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Plosnita, Elena. "Contributions to ethnographic museography: the scholar Petre Ștefănucă". W Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.01.
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One of the main figures of the Romanian ethnographic museography of the interwar period was Petre Ștefănucă, the first Bessarabian who developed the concept of an ethnographic museum and for the first time expressed the idea of organizing a Bessarabian ethnographic museum in Chișinău. The author makes an analysis of the concept elaborated by P. Ștefănucă, concluding that the scientist defined an ethnographic museum as: – a means of saving and researching the ethnographic heritage and as a real living school of knowledge of the Romanian people between the Prut and the Dniester; – a scientific institution discussing a broad issue, that of integrating ethnology into history and, in its light, the relationship between a historical museum and an ethnographic museum; – a general museum, whose collections are based on a large typological diversity of cultural values, but with an emphasis on folk architecture and traditional techniques; – a repository of intangible heritage, suggesting that elements of this heritage be collected from peasants who are keepers of old beliefs and customs. P. Ștefănucă believed that the developed concept can be implemented only when the necessity and usefulness of the ethnographic museum for Bessarabia is realized by the whole society.
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Alexandreanu, Anastasia. "Aspects regarding the valorification of the dulcimer in the musical culture from the Republic of Moldova". W Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.08.
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The dulcimer is a musical instrument with ancient origins. There are several versions about its provenance. In the 20thcentury, national performance schools were opened in several European countries: Hungary, Romania, Slovakia, the Czech Republic, the Republic of Moldova, etc. At the beginning, obviously, the creation of each national school was based on popular art, folk music. The improvisational character of the traditional instrumental music is completed, further developed by the methodical infiltration of academic traditions. This creative process determined the evolution and expansion of the sound universe of the instrument, outlining the characteristics of an individual, unique style of interpretation. The professional academic school of dulcimer performance from the Republic of Moldova is relatively young and is based on methods proposed by famous personalities such as: V. Vilinciuc, I. Grosu, V. Crăciun, V. Sârbu, S. Creţu, V. Copacinschi, V. Roşcovan, V. Luţă, V. Caşcaval and others.