The Village_4

Promoting rural culture and tradition - January - February 2010

Romanian Village Portraits of Mesendorf

Travel Journal The Unexpected Guests of Feldioara

Arts and Crafts There’s No Art in Ikea - visiting a traditional sculptor’ home The Art of Iconography

Traditional Food Interview Rural Development

January - February 2010

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3 Editorial The Value of the Simple Life

4 Romanian Village Portraits of Mesendorf: One Village, Two Experiences

6 Travel Journal The Unexpected Guests of Feldioara

9 Arts and Crafts There’s No Art in Ikea - visiting a traditional sculptor’ home The Art of Iconography: Finding a Piece of Heaven in Transylvania

12 Rural Development ‘Our programmes offer new opportunities for sustainable rural growth’ - an interview with Mr. Mihai Pascu, the President of the Agency for Sustainable Development of Brasov County

14 Interview Village Life in the Heart of the City ‘I think that interest in Romanian culture has increased’, an interview with Prof. Sorin Apan, the founder of the Saint Andrei Minivillage

16 Traditional Food Expiriencing Romanian Cuisine Orach/Pigweed Soup Recipe Cozonac Recipe

Promoting rural culture and tradition

w w w. r e v i s t a - s a t u l . r o Manager:

Ana A. Negru ana.negru@revista-satul.ro

Contributors:

Gabriel Ku (Singapore), Susanne Persson (Sweden), Brodie Robertson (UK), Norbert Schwarzenbrunner (Austria) Daniel Zmistowski (USA)

Project Coordinator: Alexandra Ichim

DTP & graphic design: Mircea Samoila

Photos:

Ana A. Negru Andrei Adrian Brodie Robertson

Cover:

Painting by Gheorghe Ciobanu

Director Projects Abroad: Mircea Samoila

The Value of the Simple Life

by Gabriel Ku

am a city boy, through and through. I was born in the urban sprawl, raised in the concrete jungle, so I had all the conveniences of modern living right at my fingertips, like air conditioning, fast food, public transportation, shopping malls, supermarkets, and internet access. And of course, one must not forget the tens upon thousands of people, living right outside my door.

In some ways, that is a nice life. It is a convenient life. But modernity can also complicate things. Life is more stressful, the air smoggier, and the claustrophobia of living in such close quarters with so many people can be suffocating. And when the city crowd of thousands surrounding you remain nameless, the loneliness of one’s own anonymity in a sea of humanity is a truly depressing thing.

But Romania has so much more to offer than her cities. Indeed, leaving the city is the first step to finding the heart and soul of Romania. From the lush peacefulness of the Danube Delta to the jagged peaks of the Carpathian Mountains, nature is in abundance. And in the middle of all this, as though hiding away from the ravages of modernization, we can find a taste of the simple life. In villages dotting the wild plains of Transylvania, Bucovina and beyond, many people still live the life that urban folk have long abandoned.

In these villages there are no traffic jams; cars are few and far in between. The air is untouched by exhaust fumes and the smells of industry; breathing in the fresh air is like savouring champagne. The rolling fields of Romania are in the window, not the cosmopolitan bustle of the city. It is the perfect place for a city boy like me to get closer to nature, to look at things again with childlike delight, and to get in touch with one’s own humanity.

And the traditions that define Romanian culture are alive and well in the villages. Where else can we go to see grown men dive into a freezing river to retrieve a wooden cross on Boboteaza, but in a village in Transylvania? Where else can we find boys throwing buckets of water on sleeping girls on Easter, but in a village in Bucovina? And where else do we go to try Romanian food specialties, handmade from scratch with loving care, rather than being bought in a supermarket?

But most importantly, it is the sense of community and intimacy in the villages that has left the deepest impression on me. The mad rush of the city seems to be forgotten when you see village people stop to greet each other, taking their time to appreciate each other’s company, and enjoying being part of a loving neighbourhood.

I am a city boy, through and through. But the life of the village is one that seems to me more coloured, more human. Heading into the villages is like stepping into a piece of history, where time stands still, where life is simple, where it will hopefully continue to remain so in our mad struggle for progress. It may sound horribly clichéd, but in our ever present rush to keep up with the times, once in a while, it is a wonderful thing to stop and smell the roses.

And where better to do that, than in beautiful Romania!

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Mesendorf

Lost in Tranquility our kilometers from Crit in the county of Rupea lies the quaint village of Mesendorf. As we parked the car, particularly careful not to hurt the numerous geese that roamed freely around the streets, I was overwhelmed by the tranquility of this village. A few people could be seen walking on the main street, some sat on a bench enjoying each other’s company while younger children played together on the grass. The views of the rolling green hills all around were exquisite and the faded yet colourful houses gave us an insight into the village’s long history.

Mesendorf was first mentioned in a historical document dating back to 1289. This Saxon village resembles many of the other Saxon villages scattered throughout Transylvania in that of having buildings of communal use (like a school and a town hall) located within close proximity to the Gothic- looking fortified church. The local church is impressive from a distance, but, as we walk inside it, we realize that the church itself is fairly small and that its defense walls and corridors give it an impression of amplitude. Inside the building there is an organ that, even though it is not the original one from 1765, is still of an important stature.

The faded blue walls are covered in German sentences relat-

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ing to hard work and prayer to inspire people in their everyday lives. Churches built around the 14th century used to be constructed on hilltops, giving them a prime position to defend themselves from the observation towers against the regular attacking enemies. The church has been restored many times as it has no doubt been through so much in its lifetime, but it still is the main component of this village’s cultural background.

During our day there, we had the privilege of meeting and speaking to the eldest man in the village. Mr.Werner is now ninety-nine years of age but that does not seem to stop him from his daily activities. Indeed, as we entered his front gate, this man was in the middle of sweeping his path and, after we explained who we were, looked very excited to speak to us. Mr.Werner is one of the three remaining Saxons in Mesendorf and is in fact the only one that can walk. Born and brought up in this little village, Mr.Werner spoke passionately about his life here and his involvement in the community. He told us that he took part in the local marching band from 1929 to 1979 and was the care-taker of the church for over 15 years. In his opinion, he was born here in 1910, he did his catechism and he began his married life with his wife in this church, so he can think of no better place to end his long and eventful life than in this rural village of Mesendorf. Needless to say this man has been, and still is, a big part of the village’s life.

To help preserve its authenticity and rural character against the damaging factors of modernization, the village of Mesendorf is helped by the Mihai Eminescu trust fund. This trust fund, whose royal patron is His Royal Highness the Prince of Wales, helps restore houses in traditional villages in Transylvania without destroying their precious cultural heritage. Indeed, many people have resorted to uncaring builders or technicians for adjustments to their house, such as the installation of a satellite dish or the re-wiring of the electricity. But the result of these simple tasks is sometimes catastrophic for the buildings concerned by the repairs. That is why this foundation calls on a specially selected group to help the locals in restoring their houses without creating patches or holes in their walls that would destroy the village’s traditional look. Indeed, anything that spoils the cultural heritage of these villages could threaten the future prosperity of the community according to the Mihai Eminescu website.

As we slowly regain our car, passing a child peacefully sleeping in the crisp green grass, young boys playing a last football game and some women enjoying the late afternoon sky, it becomes apparent that this village has something very special to offer to any visitor. Mesendorf might be nestled in the secluded Transylvanian countryside, but, nevertheless, it doesn’t feel isolated. On the contrary, the distance from everyone else makes it a perfect place to really understand how it feels to be a part of a tight and friendly community.

In Mesendorf, the constant pressure of the modern society, pushing us to buy and consume unnecessary items, cannot be found. There are no traffic jams, no crowds, no rush and certainly no chaos. Here, only the sheep can be heard bleating once in a while, interrupting the peaceful silence that surrounds this quaint little piece of Transylvania. In this village, people seem to relax, to take their time. More importantly, they take advantage of each other’s presence and enjoy every moment together. As one pays attention to the calmness that dominates the main street, one realizes that this village, cut off from the fast approaching modern society, isn’t really missing out on anything; it is lost in its own beautiful tranquility.

By Brodie Robertson www.revista-satul.ro

Photos by Brodie Robertson & Ana. A Negru

Portraits of

little known fact about William Frederick Cody, better known as “Buffalo Bill”, is that he never shot any buffalo, but bison. Now maybe “Bison Bill” didn’t sound as good to him or maybe he didn’t know that what most Americans would call Buffalo are actually Bison, fact is the name stuck and another fact is that he could have done a lot worse, like the Buffalo Bisons for example, a hockey team from Buffalo, New York.

Now to remove all ambiguities once and for all, Bison have a pretty spectacular hump and rather short horns which are bent upwards; Buffalo on the other hand look more like cows and their horns are long, curled and pointing backwards. Also the fur is longer on a Bison and usually brown, Buffalo tend to be black. In any case, if you happen to encounter either one in the wild and you don’t have a rifle, running is probably your best bet though it might turn out to be a rather futile endeavor: buffalo are as fast as race horses, their top speed is around 65 km/h; bison can run as fast as 50 km/h.

For a more laid back approach to meeting real Buffalo, Meschendorf is a maybe unexpected yet ideal place to start. Just outside the small village near Sighişoara lies a buffalo farm with 540 full grown specimens, dozens of calves and for the more daring visitor: two bulls, weighing around one ton, each. Although their horns were as long as my forearm and my heart decided to pick up the pace a little – just to be prepared for when I jackknifed back into the car – I tried to remain as calm and professional and close to the open door of our vehicle as possible. But as far as the buffalo were concerned we might as well have been air: there was no considerable reaction to our presence so I soon felt comfortable amidst all the grazing animals just casually looking at the visitors and radiating nothing but indifference. A very cow-like demeanor, indeed.

It takes about fifteen minutes to milk one of these magnificent beasts yielding between five and six liters. The milk itself has a very creamy taste to it and is a little thicker than cow milk, although that might just be because it hasn’t been processed yet. The milk from the farm is made into Mozzarella and sold mainly in Brasov, a real treat for all the gourmets out there.

As for the Buffalo – Bison dilemma, maybe a remake of the 1980 comedy “Where the Buffalo roam” would further the general knowledge about the species and help the bison to their rightful name.

Maybe instead of the Midwest, the movie could be set in Romania?

And maybe instead of Bill Murray playing Hunter S. Thompson, someone closer to the Buffalo spirit could be cast? Someone like Shia Le Boeuf, for example, the transition being phonetically only of course. After all, it was the French who referred to the Buffalo as “les boeufs”, meaning oxen, in the seventeenth century when they first encountered them, and with this little contretemps they have been disturbing the peace and causing confusion for almost four centuries now. Bravo France et merci beaucoup!

Where the Buffalo Roam, or Not

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by Norbert Schwarzenbrunner THE VILLAGE - issue no. 4, January - February 2010

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Travel Journal: The Unexpected Guests of Feldioara

by Gabriel Ku Photos: Adrian Andrei

Nestled among gentle hills and rolling plains just inside of Transylvania, Feldioara is not one of those Romanian villages that time forgot. Located just a stone’s throw away from the city of Brasov, it was first documented in 1240 and was settled by primarily German speaking Saxons. Today Feldioara commune has a population of around 7000, and has a majority community of Romanians.

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eldioara is close enough to the city life of Brasov to have access to most of the amenities modern technology has to offer. However, as we would find out over the course of our short visit there, Feldioara has preserved the sense of rural community that we usually expect to find only in villages located deeper in uncharted territory.

I accompanied Ana, manager of the Village magazine, and her husband Adrian, as they drove up to Feldioara on a Sunday morning. It was December 20th, St Ignatius Day, and we were curious to see how this day would be observed in Feldioara. Winter had descended upon Romania by now, and temperatures have

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plummeted. The village loomed ahead of us, framed by the snow capped hills and the tall spires of the two churches located on each side of the settlement, a picture of peace and tranquillity.

The car ground to a halt in front of a quaint Romanian Orthodox church, perched atop a small hill in the middle of Feldioara. It was bathed in white, the snow forming a thick layer on the cemetery grounds around it, on its shingled roofs and on its worn, stained window sills. Ana and I trudged through the thick snow to the main entrance of the church, and pushed hard at the heavy doors to gain access. The service was already well underway when we arrived, so we stood by the door silently. As someone not familiar with Orthodox Christianity at all, I felt as though I had stepped into a world that I did not particularly belong to, nor could fully understand. Coming from a country as urbanized as Singapore, I had never experienced the feeling of closeness and community that I could feel emanating from the congregation at the church that morning. The architecture, the deeply lined faces of the old women, the rites I saw performed during the service, all revealed to me a rich tradition and culture, which I found to be utterly fascinating.

Feldioara is a small community, everyone knows everyone.

Because of this, the feeling that you are intruding on a private function was unavoidable, since it was clear to everyone present that Ana, Adrian and I were not from around those parts. Ana and Adrian could still pass for being part of the community, but for the cameras slung around their necks. I, on the other hand, could never pass for being European, with my Asian features.

Throughout the service I could feel eyes fixed upon me, surveying the stranger who had barged into their territory. I realized later that this was more due to curiosity than hostility, and that many members of the congregation really wanted me to experience that part of their heritage that they were obviously so proud of.

There were no chairs in the main hall of the church, although in the secondary room in the back where we stood chairs were set up for the elderly. We were later told that the service that day lasted for four hours, and the lack of chairs would be a test for even the most physically fit of church goers. In the main hall the people knelt and rose in sync, following religious rites that looked practiced and familiar to everyone present.

The church looked extremely old, having been built in 1788.

Its walls looked hewn from stone, adorned with murals that were stained with decades, perhaps even centuries, of exposure to candle smoke and wear-and-tear. I was later told that the church also had a collection of religious printings dating back to the 18th century. Much of the church itself, the floor, the upper deck that later served as our viewing gallery, and the staircase leading up to it were all made of wood, which creaked quietly when we stepped on it. I felt as though I was walking through a piece of Romanian history. However, there were modern touches present in the church despite its old age. The priest conducting the service had a microphone clipped to his robes, and whatever he said was broadcast over an electronic speaker installed in a corner. Perhaps this is a sign that the traditions of Feldioara might be under threat as modernity and the need to keep up with the rest of the world encroaches on the village?

The bulk of the service was a sermon preparing the community for Christmas, just around the corner. The priest spoke entirely in Romanian, and while it was a pity that I could not understand any of what he was saying, the fact that it was in a foreign tongue did make the proceedings appear more mysterious and exotic to me. I would later find out that the priest had described scenes from the Bible, with emphasis on Jesus’birth.

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Towards the end of the service the congregation observed a memorial of a dead person of the community. Ana later explained to me that the commemoration was a liturgy performed at various intervals in time after the death of a person. It need not be for someone who had died recently; rather, this particular rite could be done in remembrance of someone who had died a week or seven weeks ago, or a year or seven years ago.

Several members of the congregation then went around a table and hoisted over their heads a wheat dish, adorned with candles like a birthday cake, called “coliva”. “Coliva” is made from crushed wheat grains and crushed nuts, which are boiled in water and sweetened with sugar and honey, and is a ceremonial food usually served at funerals. As per Romanian tradition, this confection was blessed by the priest after the memorial, and then distributed to the congregation after the service, who in return may say “May God forgive his soul!”

Those immediately around the table lifted the “coliva” up and down several times, while the rest stayed in physical contact with one another by placing their hands on the shoulders of the person next to them. I felt that there was some sort of shared communal spirit among all those present when they did this, as though they were connected to one another not just by the physical contact, but also by their shared spirituality. The “coliva” symbolizes the hope of the resurrection. By placing their hands on the shoulders of the closest person, every member of the congregation is connected in this hope.

After the service, the priest started conducting rites for several members of his congregation, while the rest helped themselves to the “coliva” and bread. Those getting blessed would kneel before the priest, placing their head under his sash. The priest would then say a prayer or a blessing, and then anoint them with “aghiasma”, or holy water. Babies were welcome to join their parents in the blessing, as it is believed to help ward off bad luck and evil spirits.

After the service we left the church, and were treated to the sight of children playing with sleds in the snow. The simple way of life seems to have always been present in this small community, and can be seen through the children’s interactions with each other. This to me was in stark contrast to Singapore, where children increasingly stay indoors, playing only with toys that demand high technology.

We spoke to a young boy outside the church about Colinde, the Romanian Christmas tradition of carolling. He told us that on Christmas Eve the carollers, especially the boys of the village, go to the parochial house to sing carols. The priest’s family would usually offer them “cozonac” (traditional Christmas cake), nuts or fruit. After paying this visit, the boys would then split into groups and go through the village, first calling on the houses of the girls that they are romantically interested in. This is why there are less girls doing the carolling as the children get older: they are waiting at home for the boys to come to them.

Eventually our time to leave Feldioara came and so we drove back to the busier, more urban cityscape of Brasov. I couldn’t help but wonder how long the charm of Feldioara would last. The village is located right on a highway leading out of the city, and modernity is sure to encroach on the community, as Romania struggles to play catch up with the rest of the EU. With signs that Feldioara is growing up from a village into a town, I wondered how many other Romanian villages are facing the same problems of holding on to a traditional identity, and in how much time they would lose their uniquely rural charm in favour of progress and modernization.

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Book title: ‘Have one love in life and keep it!’

Photos: Brodie Robertson

There’s No Art in Ikea

- visiting a traditional sculptor’s home he Şoseaua Kiseleff is an impressive piece of road. Coming into the city from the North the first building on the boulevard is a landmark of the Stalinist architecture and the second highest building in Bucharest, the Casa Presei Libere.

Heading south alongside Herăstrău Park, which harbors the 100.000 m2 open-air Village Museum, the next roundabout is made up of the Arcul de Triumf, a triumphal arch built after World War I and measuring almost thirty meters. A little further down, the avenue culminates into Victory Square, a vast open space filled with nothing but traffic. Dominating the eastern side of the square is Victoria Palace, the seat of the Romanian PM. Just before entering Victory Square, opposite the Geology Museum, another museum can be found, the contents of which at first glance may not seem compatible with the grandeur of the surroundings they have been placed in. The Museum of the Romanian Peasant houses over 100.000 artifacts depicting the peasant life and is therefore one of the strongholds in keeping popular arts and traditions alive. Yet to see some of the items on display one does not have to go as far as the museum in Bucharest.

The journey to the origin of the artifacts isn’t as impressive, and if it weren’t for the carved wooden gate, the small house on Str. Pe Tocile in old downtown Brasov would be easy to miss.

Built in 1837, it is now home to Nicolae Purcărea, a wood carver and one of the most established exponents of Romanian folk art.

He has filled his home not only with an intricately carved staircase that took him over a year to make, but also chairs, cupboards, a table and other pieces of furniture alongside many other smaller gems like spoons and cups. Every single piece is handmade and not something you would find at IKEA. Some of his most prized work is on display in the Museum of the Romanian Peasant, a somewhat startling choice of location for art pieces to be displayed when their creator is still alive and

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active. Although in his eighties, the master craftsman is still working, passing on the tradition and his passion for the job to currently twelve high-school students. The artist himself learned in a rather unusual place: prison (as a former political prisoner in the communist period). But he says only two things are needed to become a woodcarver: love and patience. Also a couple of knives won’t hurt the cause - if used correctly. The simplicity of the tools may make them seem a little bleak, but the refined outcome speaks for itself. In addition to the immense amount of skill required there is also something else involved: a deeply rooted respect and, well, love for the material. The importance of wood is exemplified in the prominent position it maintains in the Peasant Museum: “lemn” is everywhere. Next to stone, it’s the basic building material used for churches and houses, wind- and watermills, gates and furniture. It is made into tools, into cutlery and serves as a canvas. Wood is used to carry the dead (in a bier) and also to remember them: in a village called Ceplea a tree can be found with many wooden crosses attached to it. The tradition is that forty days after the funeral, a wooden cross is made and nailed to the “Tree of Crosses”, all so that the dead aren’t forgotten. Finally, wood of course has one more trait which makes it so valuable: it carries fire.

With a substance this versatile and enveloped in myth, it’s no wonder the woodcarver does more than just change its form in order for it to serve a certain purpose. The morphological aspect is just one part of the process, the other one being what Mr. Purcărea calls the “semantic” part. All ornaments and symbols have different meanings and serve specific purposes. Recurring signs like the sun or the rope, symbol of the snake, the guardian of the house, are exponents of a complex set of icons that have evolved over centuries. What the students in Mr. Purcărea’s class are taught therefore is not just the craft of wood carving, but the art.

by Norbert Schwarzenbrunner

THE VILLAGE - issue no. 4, January - February 2010

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The Art of

Iconography Finding a Piece of Heaven in Transylvania

by Susanne Persson Photos: Ana A. Negru

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For those interested in traditional Romanian folk art the Popular School of Arts, situated in the centre of Brasov, is a real treasure. During my stay in Romania, I had the opportunity to meet the talented Cristina Petrut. She is a teacher of iconography at the above-mentioned school. Mrs Petrut graduated at the University of Iasi, the Faculty of Theology and she studied at the cultural heritage department with polychrome wood restoration as specialization. Mrs Petrut has been working within the field of iconography for 15 years. When entering her classroom, I am greeted with numerous colorful paintings of saints, Virgin Mary and Jesus Christ. The icons all convey different themes and aspects of life.

The word icon originally comes from the Greek word “eikon” or image. An icon is essentially connected with the liturgy and praying. Contemplating the image, the believer stands in the presence of the holy being and prays to the saint represented in the icon. Most of the paintings in Cristina’s classroom are made by her students. They are all of different sizes, from tiny ones to paintings covering most part of the wall. Every iconpainting seem to be unique, in its’ shape, color or theme.

Iconpainting is usually made on wood or on glass. The art of painting icons on glass developed in the Romanian folk art, in the village of Nicula, Transylvania. According to the legend, a miracle happened in this village in the year of 1694 (some say 1699). In the local church there was a wooden icon of the Virgin Mary and Jesus. Tears are said to have been seen running down the face of the Virgin. Due to the invasion of Transylvania by the Austrian-Hungarian Empire the icon cried for a whole month.

This miracle made Nicula become a centre of pilgrims who all wanted an image of the Madonna to take home with them.

Therefore, the Transylvanians started painting icons on glass.

Most of them were not full-time artists but hard working peasants. When the weather did not allow them to work on the fields they got the opportunity to paint icons. The paintings from this time are inspired by religious themes with references to aspects of real life such as clouds and stars. Moreover, they also use items from rural life such as hills, houses and churches in the background of the holy person represented in the icon. Through the icon paintings, the peasants expressed the individuality of the community in which they lived. As Cristina puts is, the icons express the non seen beauty through the seen beauty.

One might ask oneself why icon painting has become such an important part of the Romanian culture. Cristina explains to me that the conquering of Romania by other countries, for example Austria and Hungary, plays an important role. Painting icons on glass was a way of resisting the conquerors, expressing the Orthodox identity and the Romanian nationality. However, at the beginning of the 20th century, the importance of icons started to decline, getting to be used today mainly for decorative purposes. Still, icon paintings remain to be important symbols of traditional Romanian culture. Furthermore, Mrs Petrut’s impression is that an increasing number of people seem to be looking for a deeper meaning of life. “They seem to have become tired of watching advertisements on the television and are searching for something beyond the stressful modern life”. Because of this spiritual longing, all kinds of people are attending her classes, people with different ages, jobs and religious beliefs.

Step by step she teaches them the art of iconography and gradually beautiful paintings emerge.

To my great delight, Mrs Petrut invites me to join one of her classes of iconography the same afternoon. A couple of hours later I therefore return to the Popular School of Arts. Filled with curiosity I once again enter the classroom where she teaches. Inwww.revista-satul.ro

side the room, eight students are focusing on their work. Although the silence is broken by some cheerful chatting every now and then, a sort of meditative atmosphere prevails as the painters get absorbed by their work. Talking to Daniel, who is one of Cristina’s students, makes me realize that icon painting is so much more than just ordinary painting. To him, icon painting can be compared to praying. It is a moment of peace when you are able to forget about your busy, daily life. I now recall what Mrs Petrut earlier told me, about the calming influence icon painting tends to have on the painter.

I spend the following hour watching a patient painter mixing colors to get the exact right nuance that he is looking for. Another student is painting thin lines on a piece of glass, moving the brush smoothly in a kind of flowing way. After I finally say goodbye to Cristina and her students I realize that this class of iconography gave me a sense of tranquility. I leave with the conviction that the old Transylvanian peasants gave us an important lesson to be learned. The art of Iconography might be a chance

THE VILLAGE - issue no. 4, January - February 2010

for us to reconnect with world’s basic values, find ourselves and get a break from the modern and stressful society we are living in. With that soothing thought, I enter the busy streets of Brasov.

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A Developing County: ‘Our programmes offer new opportunities for rural sustainable growth’ - an interview with the President of the Agency for Sustainable Development of Brasov County

by Daniel Zmistowski

ustainable Development is defined as development that meets the needs of the present without compromising the ability of future generation- to meet their own needs. Though the term is not often heard, it remains an important issue that is well overlooked. According to the WHO/UNICEF Joint Monitoring Program for Water Supply and Sanitation there are about 1.1 billion people without access to clean water in developing countries. The International Energy Agency estimated in 2002, about one quarter (1.6 billion) of the world's population is without ac

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cess to electricity. The importance of sustainability was first brought up at the Rio Earth Summit in 1992, to 152 world leaders. During that Summit, it was also recommended that all countries should produce national sustainable development strategies. Though there has not been as much progress in this field as was hoped, there are still many NGOs from around the world that are working towards sustainable development. For example, in the United States there is the Bureau of Oceans and International Environmental and Scientific Affairs (OES). According to the U.S. Department of State's website, OES has initiated partnerships that have connected 13 million people with access to energy, and 19 million people with better access to drinking water. Taking America as an example, the Romanian government has similar programs throughout the country. Specifically in the Brasov area there is the Agency for Sustainable Development of Brasov County, an organisation committed to improving and protecting the towns, villages, and people's way of life in rural areas of Brasov County. Founded in 2006 by the initiative of the County Council of Brasov, the Agency is made up of 47 town halls (or members),

“Constantin Brancoveanu” Monastery

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from various cities and villages throughout the county.Their mission is to implement and support strategies and projects management for local and regional development in Brasov County. The top priority of the organization is to develop rural communities, while protecting the environment. They also aim to support economical and social growth, as well as increase the rate of employment. To better explain the role of the Agency for Sustainable Development of Brasov County we present an interview with Mr. Mihai Pascu, the President of this organization.

- What are the rural development projects that you plan to implement this year in the county?

In 2010, the LEADER program will be implemented and funded by the European Community for Rural Development. The program is an approach that offers new opportunities for rural development and lays the foundation to identify local needs, as well as to valorize local resources. It also aims at strengthening capacity development and implementation of local development strategies to conserve the rural and cultural heritage. One of the major benefits of the program is that it awakens representatives of the rural population, to be concerned about, and to take control of rural development through the establishment of strategies that are focused on the problems in their communities.

200,000 Euros will be granted for the private sector (including NGOs), and for the public sector as well. The purpose of this program is therefore to ensure the necessary framework for social and economic development in rural areas. The stage we are now in is the establishment of associative structures, LAGs (LAGs = Groups of Local Action) and we have within 4 months, namely until the end of April, to establish 5 LAGs in Brasov County and to create local strategies.

LAGs are public-private partnerships that consist of representatives from various sectors of public, private, and civil societies in that territory. The level of decision, the economic and civil society representatives, (such as farmers, women, and young people in rural areas) and their associations must represent at least 50% of the local partnership. Of the LAGs, 51% belong to the private sector, and the rest belong to the public sector.

After May 1, this structure will be entered in an evaluation contest by the Ministry of Agriculture to obtain certification. Though the Leader Program, we endorse some projects that sustain the small manufacturers (Milk and cheese), so that they can have access on the market, respecting of course the European Criteria.

We also endorse projects that support these small producers in promoting their own brands, and those ones that initiate programs to increase the employed population, including also the Rroma Community (for example, using less skilled labor for the collection of fruit) - Which are areas with the biggest potential for rural tourism and ecotourism? How do you see the evolution of tourism in these areas?

The area of Fagaras, e.g. Dragus Village, has already obtained financial support for its own projects and has initiated a small project with a tourist resort. Also, Dragus benefits from a good position in terms of geography, as it is located at the foot of the Fagaras Mountains and is in the immediate vicinity of the "Constantin Brancoveanu" Monastery (a monastery that is very popular in Romania) as well. So, it will develop much faster than other areas of Brasov due to exceptional local administration and government support. In this developing project, a unified stratTHE VILLAGE - issue no. 4, January - February 2010

egy is required between the two neighboring counties of Brasov and Sibiu. Moreover, between the "Constantin Brancoveanu�

Monastery and Victoria town is a road that will bring much more tourist value to the area.

- Does your agency help build or improve community facilities such as schools, health clinics etc?

Yes, the role of the agency is to offer consulting and to write applications for funds that will help improve these facilities. There are two new, well-funded projects that are coming up and both are top priorities. One refers to the improvement of water and sewage and the other one represents a new project to improve the waste system in Brasov communities.

- What is your plan on protecting the natural environment?

We have two national parks in Brasov and we are working on certifying the third. It's a difficult process because local people want to develop the land that is there and they don't want to abide by the rules of the national park. The last decision comes before The Romanian Academy and the Ministry of Environment.

- Does your agency work in partnership with state and local governments, as well as rural businesses and nonprofit agencies?

Yes we work with all of those mentioned, however not with nonprofit agencies. There are 58 towns and villages in Brasov County and 47 of those villages and towns are members of our agency.

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Village Life in the Heart of the City raşov is hardly the place one would expect to experience the rural traditions of Romania. With a population of about 280,000 people, Braşov bustles with the energetic vitality of modern life. Cars and buses fill the streets, the young dress fashionably, and the internet connectivity is plentiful. In other words, Braşov won’t in a million years be mistaken for a village.

Such progress comes with a price, however. People living in cities grow out of touch with the traditions that arguably define Romanian culture. Tradition gives way to convenience, when every good can be purchased in a store, and every piece of information can be Googled.

It was therefore a pleasant surprise to find right in Braşov the Saint Andrei Mini-village, a workshop celebrating Romanian traditions and spirituality. Originally the brainchild of Mr Nicholas Purcarea, Professor Ioan Sorin Apan and Mr Aurel Morar, the Mini-village has grown since its creation to become a thriving educational centre for rural Romanian tradition, attended daily by over 40 children. It receives strong support from organizations such as Youth and Sports Braşov, the Braşov Ethnographic Museum, the Museum of Romanian Peasants and the Village Museum in Bucharest.

Children participating in classes at the Mini-village learn a wide range of traditional Romanian crafts, under the watchful guidance of specialist teachers. Such skills include traditional sculpting techniques, wood and glass painting, weaving and traditional painting of eggs, or as the Romanians call it, ‘încondeiatul oualor’. Professor Apan even teaches a class in Romanian spirituality.

We visited Andrei Saguna High School, where the Minivillage Museum conducts classes regularly from its own dedicated classroom. The room has been furnished in a traditional Romanian fashion, to give students a more immersive experience. A wooden bench sits in a corner, intricately carved with Romanian symbols. Elaborately woven tapestries hang from the rafters. Stacks of beautiful stained glass paintings fill the shelves, the fruits of the students’ work. Although small, it has a warm, cosy, and fitting atmosphere from which teachers conduct those lessons on traditional Romanian crafts.

Unfortunately, we did not have the opportunity to sit in for one of the sessions with the children. We did manage to meet with Professor Apan, who took us from Andrei Saguna to Dumitru Staniloaie Orthodox Theological Seminary, homebase of the Saint Andrei Mini-village. We were given a guided tour of the facilities, which included classrooms, workrooms for students to practice the traditional skills they acquire in lessons,

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and an ornately decorated religious room for religious study and prayer. The walls of most of those rooms were covered with elaborately painted murals, which were a collaborative work by the teachers of the Mini-village and the students themselves.

The centrepiece of the Dumitru Staniloaie Seminary however, is the Mini-village’s collection of traditional Romanian arts and crafts. Housed in a small room at the end of a narrow and steep flight of stairs, the collection features traditional wear from various villages around Romania, including those from regions like Maramureş, Bucovina, Sibiu, and Arad. Several items of clothing from the collection date back several centuries, and have been painstakingly preserved for display. The collection also includes pottery, various textiles, sheets of stained glass paintings, and a large traditional loom used for weaving, among other treasures.

Students of the Mini-village workshops are therefore well equipped to experience village life. Yet, the extent of their involvement in the program does not confine them to Braşov. The partners of the Mini-village, particularly the museums, frequently invite them to participate in events outside Braşov, including festivals overseas. For example, students have participated over the years in festivals displaying traditional Romanian culture in France, Germany, Poland, and Hungary, just to name a few countries.

As Romania becomes more globalized, preserving the traditional Romanian way of life becomes more of an uphill battle. But, as Professor Apan tells us, the students have learnt to embrace these traditions through their involvement. They have learnt the value of preserving customs, despite being raised in the city. It is certainly encouraging to see the cultural heritage of Romania being kept alive in the modern city of Braşov.

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as well. As a child we would also take frequent holidays to the countryside, where I saw firsthand what life was like in Romanian villages. Being exposed to this at such a young age helped to develop my interest.

- How popular has the program been with the children of Braşov?

The children participating in our workshops have always been very enthusiastic. Children will be children after all, they’re very spontaneous and have an energy that makes the entire experience very rewarding. When the Japanese royal family visited Braşov last spring, our students put up displays exhibiting Romanian customs for them. They did that with a great deal of enthusiasm that captivated the royal family, who were very appreciative of their efforts.

‘I think that interest in Romanian culture has increased’ - says prof. Sorin Apan, the founder of the Saint Andrei Mini-village

Saint Andrei Mini-village has been a success in keeping the village traditions of Romania alive in a big city. We had the pleasure to interview Professor Apan about his work with the Minivillage, and the impact that it has had on the urban community.

- How long have you been involved in the Mini-village?

The Minisatul workshop has been in place since 1998, and I’ve been involved in it since then. However, I’ve been involved in teaching and promoting Romanian traditions for longer, from about 1981.

- How did you get started in promoting Romanian traditions, and in the Mini-village?

I’ve always loved Romanian culture, it has been a passion of mine, and I see myself doing this more as a hobby than as work. Since I was a child I’ve been interested in ethnography. I think this was cultivated by my mother, who was very much involved in traditional Romanian arts, such as making handicrafts, weaving and sewing. She also taught these skills to the children in the area that I grew up in.

- Where did you grow up?

I was born in Maramureş, a region with a very strong traditional lifestyle. I worked as a teacher there for some time THE VILLAGE - issue no. 4, January - February 2010

- The Mini-village has quite an impressive collection of Romanian artefacts. Was this difficult to acquire?

This collection was not built overnight; it has taken much time to become what it is today. I frequently visit the villages to buy artefacts of value from the villagers.

I often encounter villagers who refuse to sell their things, and have to spend a lot of time bargaining and trying to convince them. Sometimes I tell them that the goods are not worth holding on to, that they are already old and frayed and that they have no more use for it! (Laughs) Most of the time the villagers will sell their items to us, and over time we have amassed this collection.

- Do you have difficulties getting Romanian city dwellers to embrace their cultural identity and traditions?

It is always difficult because in the city things are very different from the village. However I think that interest in Romanian culture has increased, not only among Romanians, but among foreigners as well. One of the workshops that we conducted was to educate the children on the traditional Romanian wedding. Last year they applied what they learnt in the workshop to help an American couple who wanted to get married in Romania according to Romanian custom. So we helped them have a traditional Romanian wedding and it was a big success.

- What does the calendar of events look like for the Minivillage in the year 2010?

We’ve not set a fixed calendar of events yet. However, it is predictable that we will be involved in celebrating the conventional Romanian holidays and festivals. Holidays like Easter or Christmas are very important and we will be teaching the children the customs associated with them.

Also, our cultural partners organize cultural activities throughout the year, and when they do we will participate accordingly.

The children meet with us every week for activities, so there is something for them to do every week. They do a lot of preparatory work for any upcoming festivals or holidays, such as decorating eggs for Easter. There are also courses on different traditional skills for them.

Article and interview by Gabriel Ku 15

Experiencing Romanian Cuisine Text written and recipes collected by: Daniel Zmistowski

’ll confess: I’m a picky eater. So when I decided to come and volunteer in Romania I had just assumed that I would not particularly enjoy Romanian cuisine. To even further my suspicions about food in foreign countries, I had traveled to South America previously for three months and came across food that haunted me throughout my time there. So as you can imagine, my experience in the subject has taught to stay away from unfamiliar cuisine, and stick to the familiar.

When I arrived here however, I was introduced to Cozonac right off the bat. Being a traditional recipe, and the fact that it resembled a harmless loaf of bread, I figured that I had to try it and in turn, was quite happy that I did. The dish is simply bread with a swirl of nuts and raisins mixed in, transforming the blandness of bread into something much more rich and flavorful. As well as Cozonac, I was able to try Orach soup, another traditional dish. Perhaps you have heard of the garden vegetable Orach before, but it was entirely new for me.

Being a very popular dish in Romania, I have been able to have it quite frequently and I must say I can’t complain. It is served usually as a starter with a few slices of bread, and leads perfectly into any main course that comes afterward. Both dishes have given me a new perspective on foreign cuisine, and you can share in my appreciation by preparing them both, as the recipes are provided here.

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Orach/Pigweed Soup Ingredients: -- 1 / 2 kg. Orach -- 1/2 l Borsch -- Lemon juice or Vinegar -- 1 small onion -- A pinch of pepper -- 4 to 5 cloves of garlic -- Lovage -- A yolk -- 100 ml sour cream or yogurt -- Salt Preparation: First, boil 1½liters of water. Next wash the Orach well (about 2 or 3 times) without breaking the leaves. After washed, break the freshest leaves. Then, taking the bundle, cut into large slices. Place the cut slices in the boiling water along with chopped onion and let boil for 30 minutes. Next off, add borsch (see ingredients and preparation below) and 1 to 2 tablespoons of oil. If your preference, add a teaspoon of pepper as well. For extra flavor, mix sour cream or yogurt with a yolk into the soup while it’s still hot. Finally add chopped lovage, as well as salt and garlic for more spice if you prefer.

Borsch Ingredients: -- 500 g wheat bran -- 300 g corn flour -- 20 g yeast -- 1 lemon -- 2-3 slices bread -- Black Cherry leaves -- Lovage.

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Preparation: Use a clay pot or a glass jar that holds 5 -- 6 liters. Then add wheat bran, maize, and yeast into the jar/pot. After, pour hot water to fill the dish (if it is a glass jar, don’t forget to put knives underneath, otherwise the jar will burst). Next, add cherry and lovage leaves. Then cover with a bandage and keep it in a warm place. In 2-3 days the borsch is ready to use. Lastly, put it in jars when the taste is sour and keep it in the fridge. www.revista-satul.ro

Chicken Soup Ingredients: - 1 / 2 kg chicken - 1 large carrot - 1 root of parsley - 1 small celery - 2 onions - 2 potatoes - 1 green pepper - 100 g noodles - 2 yolks - 200 ml cream - 1 liter of Borsch or 100 ml vinegar - Salt, pepper, green parsley and lovage leaves Preparation: The meat is boiled in water with salt. When it’s roaring, you take the foam off and you add chopped vegetables and onions. It let them boil over low heat until vegetables and the meat are almost cooked and add diced potatoes. After 10 minutes, add borsch heated, allow to boil over low heat, add salt and pepper depending on your taste.

Then add noodles and leave everything to boil little longer.

Take the pot from the heat and spice with cream beaten with yolks. Then you can give some flavour by adding green parsley and lovage.

Borsch

THE VILLAGE - issue no. 4, January - February 2010

Cozonac with walnuts and raisins Ingredients for dough for 3 cozonaci: -- 1 kg flour -- 3 eggs -- 250 g sugar -- 100 g lard -- 150 g oil -- 1 teaspoon salt -- 500 ml milk -- 75 g yeast (3 cubes) -- spices: lemon and/or orange peel, rum and vanilla extract Ingredients for the filling: -- 300 g walnuts -- 100 g raisins -- 150 g ground buiscits (50 g/cozonac) -- 3 egg whites turned into foam -- 300 g sugar -- a little milk -- rum extract -- vanilla extract Preparation: Soak the yeast in 100 ml of milk and 3 spoons of sugar, then add 3 spoons of flour. Separate the yolk from the whites and add to the yolk the salt and the spices, then mix them well together. While kneading the dough, add half of the lard previously heated up. The rest is added little by little during kneading, which lasts for around an hour.

Next, smear melted butter on the trays and powder it with flour. Spread the dough into 3 parts, flatten it, put the walnut and the raisins on it, then roll it. Place it in the trays, smear it with a little milk mixed with yolk and leave it to grow for while. Then put it in the oven. After about 30 minutes it is almost ready; turn the tray in the oven and leave them in for another 10-15 minutes. In order to check if they are ready, stick them with a straw. Once they’re done, let them get cold.

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