Area Handbook for Romania Part 11

EDUCATION OF MINORITIES

Although the government has recognized in principle the right of the national minorities to use their native languages in education, the implementation of official educational policies has reflected a strong preference for the incorporation or integration of all minority groups into the general population. The dissatisfaction of the large Hungarian and German minorities with the inadequacies of minority education eventually surfaced in early 1969 at the national congress of educational workers, and since that time the regime has taken steps to reduce inequalities in the system by providing additional facilities, trained personnel, and teaching materials for the improvement of minority instruction.

As a result of this increased government support, groups as small as six were made eligible to be instructed by a full-time teacher in any non-Romanian native language. High schools with instruction in Hungarian or German were set up in a number of the larger cities and towns that had sizable populations in those nationalities. In addition, sections or cla.s.ses were organized in certain vocational and industrial schools for the teaching of selected subjects in minority languages, and candidates for admission to higher schools were permitted to take compet.i.tive examinations in either Romanian or their native language. By the opening of the 1971/72 school year the government reported that more than 280,000 minority students in 3,162 schools and sections were receiving instruction in their native languages from approximately 14,000 teachers.

CHAPTER 7

ARTISTIC AND INTELLECTUAL EXPRESSION

The arts and intellectual activity reflect Romania's position as a crossroads of Eastern and Western cultures. Elements of ancient Roman culture from the second and third centuries mingle with Byzantine elements (dating from the Middle Ages) and with Islamic elements (brought by the Turkish conquest of the fifteenth century) (see ch. 2).

In more recent times, these were joined by elements of Western European culture. Underlying all these influences from abroad are elements of a native peasant culture that can be traced back to the Neolithic settlement found on the territory of the Romanian state. The mixing of all the elements has produced a cultural mosaic that, although it has much in common with the cultures of neighboring countries, is purely Romanian.

The Romanian people are very proud of their cultural heritage and of the artistic and intellectual expression that it has inspired. Artists and intellectuals have always occupied a favored position in society as transmitters of the aspirations of the people. They continue to feel an ident.i.ty as the social cla.s.s that is responsible for the spiritual well-being of the nation.

The communist government has promoted this pride in the cultural heritage by devoting considerable funds and effort to the restoration and preservation of antiquities. It has also fostered the preservation of folk art and folk traditions through the establishment of the Village Museums in Bucharest and Cluj and through the continued urging of contemporary artists to produce a national art based on folk traditions.

The various ethnic minorities have preserved their own cultural traditions and forms of expression. Although these forms reflect the same modern influences of foreign origins that have affected Romanian forms, they show relatively little direct borrowing from each other or from the Romanian majority.

Because artistic and intellectual activity is a very effective means of protest and social criticism and, therefore, opposition to the established order, the communist leaders.h.i.+p has tried to keep such expression under control and to use it for its own purposes. The degree of cultural freedom and the content of cultural output have been indicators of the political situation in the country.

Despite controls, artists and intellectuals continue to create. Not all of their effort becomes public, and that which does is not necessarily sincere or direct. Symbolism and allusion have been developed to a high degree and are well understood by both the creator and his audience.

THE ROLE OF THE ARTS UNDER COMMUNISM

Since the communists took control of the government in 1947, artistic and intellectual expression has been dominated by the cultural policy of the Romanian Communist Party (Partidul Communist Roman--PCR), which follows the model developed by the Soviet Union. The policy is based on the concept known as Socialist Realism, whereby an artist must strive to grasp the essence of human and social relations and depict them truthfully in the light of socialist ideals. Art must be directed toward the working man; therefore its style must be simple and straightforward.

Adherence to this concept in the formulation and execution of cultural policy has varied, however, and generally reflects the political climate of the time and the particular outlook of the men in power. During the 1950s, which has come to be known as the Dogmatic Period of cultural life in post-World War II Romania, the content of the arts and of intellectual expression was strictly controlled and restricted.

Socialist Realism was interpreted to mean the presentation of the glories of communist ideals through the various forms of art and the use of such forms to further these ideals. All cultural effort, therefore, had to be directed to these goals, and no deviation was tolerated. The merits of a book, painting, or play were judged only by how well they fulfilled the propaganda function. Most individuals entrusted with pa.s.sing judgment on what was or was not acceptable had no professional qualifications. As a result of all these factors, artistic production that was made public during this period was, with few exceptions, dull and mediocre.

With the discrediting of Stalin and his policies in the mid-1950s, dogmatism in artistic expression gave way to a more liberal interpretation of what was considered appropriate. Emphasis on Socialist Realism was replaced with emphasis on nationalistic and historical themes, as Romania strove to gain greater political and economic independence from the Soviet Union. In order to be acceptable to the administrators of cultural policy, artistic expression no longer had to confine itself to the presentation of communist ideals in traditional styles, but it could address itself to a variety of themes and could experiment in innovative styles. Although artists were criticized for submitting to so-called decadent bourgeois culture if they moved too far away from the standards of Socialist Realism, they were not punished or enjoined from further creative activity unless their work could be interpreted as an attack on the regime or its policies.

At the same time, expanding relations between Romania and the noncommunist world brought artists and intellectuals into contact with cultural developments elsewhere and stimulated Romanian creative expression. Cultural exchanges with Western countries were often used by the government to allow artists more freedom of expression than could be politically justified at home. Artists were allowed to exhibit or perform abroad works that had been highly criticized at home. The critical praise received abroad was proudly publicized at home as an example of Romanian genius, at the same time that these very works were being criticized for not meeting the desired standards of artistic expression.

The apparent inconsistency in the application of cultural policy in the late 1960s was indicative of a widespread effort to determine what the role of art and literature should be in a socialist society. By 1971 this had become a much debated topic. Party ideologists, communist and noncommunist artists and critics, and other members of the intellectual elite, including students, aired their views through roundtable discussions, through polemics in the press, and through other means. The debates appeared to be unrestricted and lively, and the views expressed ranged from strict adherence to the concept of Socialist Realism to a plea for "art for art's sake." The opinion of the majority, however, seemed to be that art and literature in a socialist society, as in any other society, have both an aesthetic and a social role. Neither of these functions should overshadow the other; social and political elements in a work of art or literature should be implicit and artistically presented rather than the sole justification for the existence of the work.

In July 1971 President Nicolae Ceausescu announced a tightening of cultural reins in order to bring cultural and educational activity back toward its socialist purpose. The statement was followed by the removal of some books from publication schedules, the cancellation of some theatrical productions, and the resignation or removal of several editors of literary and cultural periodicals. Most observers, however, agreed that, despite some tightening of controls, artistic and intellectual expression in Romania at the end of 1971 was far from returning to the restrictions of the Dogmatic Period of the 1950s.

Cultural policy was administered in 1971 by the Council on Socialist Culture and Education, which had replaced the State Committee for Culture and Art. The council had the status of a ministry in the government, as had the committee that preceded it (see ch. 8). The main overseers of cultural policy and the princ.i.p.al organs of control on artistic and intellectual expression, however, have been the various professional unions. The role of the unions is to supervise and enforce established standards of creative expression and to act as representatives for the members of their professions. A close relations.h.i.+p exists between the union leaders.h.i.+p and the communist party, whose control of the unions and, thereby, of the members is exercised through the party leaders.h.i.+p (see ch. 9).

Members.h.i.+p in the appropriate union is a prerequisite for effective artistic and intellectual activity. Only members can be employed in their professions and have their works published, performed, or exhibited. Deviation from established cultural policy results in expulsion from the union and consequent professional oblivion.

Therefore, most artists and intellectuals exercise self-censors.h.i.+p rather than risk punishment, even if such censors.h.i.+p involves compromising principles and artistic standards.

ART, SCULPTURE, AND ARCHITECTURE

Folk Art

A long heritage of decorative folk art, expressed in wood carving, embroidery, weaving, pottery, and other forms, has been important as artistic expression for the peasants and has served as inspiration for the more sophisticated painters, sculptors, and architects. Regional differences in styles and materials reflect the way of life of the people as well as their needs and the resources available to them.

Some of the typical forms and motifs used through the ages have been found to date back to articles unearthed by archaeologists at Neolithic settlements. In common with the folk art of other countries of Eastern Europe, Romanian folk art uses mostly abstract and geometric designs.

When floral or animal forms are used, they are usually stylized.

The carving of wood is a natural form of folk expression in the heavily forested areas of the Carpathians and Transylvania. Pillars and frames of houses and other buildings, farmyard gates, and furniture are decorated with carved geometric designs. Wooden household utensils are also decorated with carved designs, as are farm tools and other objects used in daily life.

Elaborate embroidery decorates the traditional costumes of both men and women. Those used on festive occasions are particularly richly embellished. Designs and colors vary with the regions and make it possible to identify specific costumes with specific parts of the country. Similar embroidery is also used to decorate household linens.

Particularly well known outside the country are the woven rugs, tablecloths, and tapestries that decorate all rural homes and many urban ones. Designs are mostly geometric, and particular designs and color combinations are a.s.sociated with particular regions. Well known for their unusual design and warm colors are Oltenian textiles in which a central animal, human, or floral design is surrounded by several frames of different colors. Muntenian textiles, on the other hand, have small geometric designs spread over the whole surface. Moldavian and Transylvanian textiles vary a great deal from one location to another and include both geometric and figurative designs. At one time, wool was used exclusively for weaving rugs and tapestries, but since the mid-nineteenth century cotton or hemp warp has been used in combination with wool. All-cotton and all-hemp rugs and wall hangings are also produced.

Pottery of various kinds is made both as decorative objects and as household utensils. Plates, pots, and jugs are used to serve and store food, but they are also displayed on shelves along the walls of peasant houses, making the interiors colorful and cheerful. The shapes, colors, and designs of the pottery show the many cultural influences from Neolithic to modern West European. Two distinct types of pottery are produced: a black pottery made by incomplete firing of clay with much smoke, and the more common red pottery. Black pottery, the origins of which date back to the Bronze Age or earlier, is made mostly in Moldavia and eastern Transylvania. It has a highly polished finish, which is achieved by the use of a special stone. The widely produced red pottery may be glazed or unglazed and is usually decorated in some fas.h.i.+on--by painting, scratching a design into the wet clay, or applying a design in relief.

Among the more unusual forms of folk art that continue to be practiced are the decoration of Easter eggs and painting on gla.s.s. Easter is a special time not only because of its religious significance but also because it heralds the beginning of the growing season, and Easter eggs as a symbol of fertility are an important element of the festivities.

Eggs are decorated with highly ornamental patterns in various ways and often become respected works of art.

Painting on gla.s.s was introduced into Transylvania in the seventeenth century from Bohemia and was used for the production of religious icons. Icon painting formed an important bridge between folk art and the fine arts in the eighteenth and nineteenth centuries. It is no longer widely practiced.

A number of contemporary artists utilize the various forms of folk art as their medium of artistic expression. Their designs include not only the traditional but also elements of modern art styles, such as cubism and abstraction.

Fine Arts

The beginnings of fine art in Romania date back to the fourteenth century when frescoes and other paintings were created to decorate the churches of the period. All of the early art was created in connection with churches, although not all of it was religious in content.

Portraits of those responsible for the building of churches or monasteries, and of their families, were often included among the pictures of saints and biblical scenes that decorate the interior and exterior walls of medieval religious buildings.

Romanian church art of the fourteenth and fifteenth centuries is recognized as some of the finest and most unusual of the later period of Byzantine art. It differs somewhat in style from other examples of Byzantine art of that period by reflecting the influence of folk art.

Some of the finest examples are found at the Moldavian monasteries of Putna, Sucevita, and Voronet. They are unusual in that they were painted on the outside walls in order to educate the peasants in church history and in elements of their faith. The quality and imaginativeness of these frescoes has been termed one of the great contributions to European religious art. Their freshness after more than 400 years of exposure to the elements is remarkable.

In addition to paintings, religious art of the medieval period also included various objects, such as vestments, furniture, and vessels worked in wood, gold, or silver and richly decorated. Collections of these objects are preserved at the monasteries, the largest exhibits being at Sucevita and Putna.

During the seventeenth century a change in style took place in painting and other decorative arts, although the subject matter remained religious. Russian artists who had come to Moldavia and Walachia introduced the small, detailed painting of Russian iconography, which became evident in the murals and other painting of Romanian artists. At the same time, the simple, folk art decorative forms were replaced by a more elaborate style showing both Baroque and Oriental influences. A distinct Walachian style developed, and schools emerged in Bucharest and other cities. The most notable achievements of the Walachian school are the interior frescoes of the Hurez Monastery.

A secular trend was introduced into art in the eighteenth century with a greater involvement of merchants, craftsmen, and landowners as patrons.

Not until the nineteenth century, however, did a completely secular art come into being, mostly through foreign influences. The earliest secular artists reflect in their styles the training they had received as religious artists.

In the early nineteenth century several foreign painters lived and worked in Romania and exerted a strong influence on young Romanian artists who, in turn, helped to train other artists of the nineteenth century. The spirit of nationalism and revolution that was sweeping Europe during that century involved Romanian artists as it did those in other countries under foreign rule. Art was a medium for expressing nationalist sentiments and the fight for self-determination. Most of the art of the period, therefore, represents historic and heroic subjects.

Foremost among the revolutionary artists were Gheorghe Tattarescu and Theodor Aman, both extremely popular in their lifetime. Together, they exerted a great influence on the development of fine arts in Romania by founding the School of Fine Arts in Bucharest and by training young artists. Aman, in particular, is considered the country's first great modern painter.

By far the most outstanding artist of the nineteenth century was Nicolae Grigorescu. His work remains extremely popular among Romanians, and his lyrical landscapes and scenes of Romanian life are well known abroad.

The work of Stefan Luchian at the beginning of the twentieth century introduced to Romania some of the avant-garde styles that were appearing in European art elsewhere. Although he followed his predecessors in painting landscapes and rural subjects, he opposed their conservative style and introduced into his paintings a greater use of color than had been common. He also introduced social themes into his paintings by depicting the misery and poverty that were characteristic of the lives of most people. His best paintings, however, are flower studies, which bring out his love of color and of nature.

Luchian's break with tradition and his use of color were followed by a number of artists, the most celebrated of whom was Nicolae Tonitza.

These and other artists of the interwar period were greatly influenced by the impressionist and postimpressionist painters in Paris and Munich, where they studied. Their landscapes, flower studies, and portraits show the effective use of bright colors, which is considered characteristic of Romanian art.

Because landscapes, floral studies, and other neutral subjects have traditionally been the main concern of Romanian painters, this form of artistic expression was the least affected by the strict controls of the first decade of communist rule. A number of interwar artists and several younger ones continued to produce their canvases in the precommunist tradition, but during the 1960s some young artists experimented with various avant-garde techniques and styles that were then current in Western Europe. Although the government disapproved of these works, it allowed the artists to exhibit them abroad and win considerable acclaim for Romanian art. In the late 1960s the PCR was disturbed by the extent to which abstract art had blossomed despite party disapproval. Artists had been introducing cubism and primitivism into their work under the guise of folk art, which is supposed to serve as their main inspiration.