Tag: peasant

  • Ion Mihalache

    Ion Mihalache

    Teacher Ion Mihalache, a major Romanian politician before 1945, represented the peasant middle class. He was a man of integrity, defender of conservative Romanian peasant values, but was also a militant for modernization and prosperity for all, especially the most disadvantaged.

    Ion Mihalache was born on March 3, 1882, in Topoloveni, a village 90 km northwest of Bucharest. He came from a peasant family, and loved education, so he became a teacher at19 years of age, in 1901. When Romania joined the war, in 1916, he volunteered as an officer commanding a company on the front lines. He took part in the military campaigns in 1916-1917, and was decorated with the Michael the Brave order for his abilities as a commander.

    In the tumultuous years after the war, he took part in organizing the referendum by which the Romanian population of Bessarabia voted to unite with Romania in 1918. After the war, he went into politics and was a founder of the National Peasant Party, to defend the interests of the peasantry, the largest social class at that time. The emergence of such a party was also justified by the fact that King Ferdinand I had promised an ample agrarian reform in a famous speech from 1917.

    In 1919, in the first elections in Greater Romania, the Peasant Party formed a coalition with the the Romanian National Party of Transylvania, and formed a government led by Alexandru Vaida-Voevod. Mihalache was appointed minister of agriculture and land management. In 1920, the so-called Mihalache Law was passed, granting agriculture schools 100 ha of land each, and horticultural schools 25 ha to help with education.

    In 1926, these two agrarian parties joined, and the National Peasant Party was born, the most important opposition party facing off against the National Liberal Party. Mihalache became party deputy chairman, and Iuliu Maniu, the head of the former Transylvanian party, became chairman.

    The great electoral success of the new party came that same year, when the National Peasant Party won in a landslide, forming the government. They bring with them a policy of encouraging agriculture, in line with Mihalache’s political thinking. He went on to hold the position of agriculture minister until 1930, becoming then minister of the interior, a post he held until 1933.In 1941, when Romania joined WWII, Mihalache, then 59 years of age, was mobilized to the front line. However, he was recalled back home upon order from General Ion Antonescu.

    Our guest today is General Constantin Durican, aide de camp for General Ioanitiu, head of the General Staff of the Romanian army. In 1996, in an interview with Radio Romania’s Center for Oral History, he recalled the episode in which Mihalache was supposed to be convinced that it was in Romania’s best interest to fight on Germany’s side:

    Constantin Durican: Mihalache had the Michael the Brave order decoration from the war of 1916-1918. And because he was against Marshal Antonescu and on Maniu’s side, Antonescu order he be mobilized. He gave him a car, to show him why Romania was with the Germans, why we were fighting, and what we were getting ourselves into. Of course, the choice in that situation was pretty difficult, it was very hard to judge the leaders irrespective of their choice.

    After the war, he started the most difficult period of his life, which sorely tested his character. In the 1946 elections, in a climate of extreme tensions caused by the communists, Mihalache held a memorable election speech. Former political detainee Ioan Georgescu, spoke in 2000about that speech, which he attended:

    Ioan Georgescu: I recall there was a joint meeting of the Peasant Party and the Liberals, led by Dinu Bratianu and Ion Mihalache. They came here, to Campulung, and spoke to a large audience. I was present there. I remember a beautiful comparison he made then. He said: ‘So far we have stood on our right leg (he was talking about Antonescu) and now some are coming to tell us to stand on our left leg. And I say, and I think I’m saying it right, we have to stand on both legs.

    Another former political detainee, Cicerone Ionitoiu, talked in 2001 about how he visited Mihalache in 1946, detained by the communist government:

    Cicerone Ionitoiu: When we went to him, he was being prosecuted under false chargers, to prevent him from running for office in Muscel. We went there, we were about 12 people, from Bucharest, to support him on the day of the trial. He arrived at night, he received us, it was late, about 11 o’clock at night. He said: ‘Hey, boys, you need your sleep’. We told him that we want to talk to him, that he shouldn’t worry about us. Then a teacher arrived, Bratulescu, who took us in. And Mihalache saw us out of Campulung, and told us ‘Well, you visited me, what would it be like if I didn’t honor you by seeing you out of town?’ That’s the kind of man he was.

    In 1947, Mihalache, along with the entire leadership of the National Peasant Party, was sentenced to prison. On February 5, 1963, he passed away in the Ramnicu Sarat prison, just one year before the general amnesty of 1964. (C.C.)

  • Ion Mihalache

    Ion Mihalache

    Teacher Ion Mihalache, a major Romanian politician before 1945, represented the peasant middle class. He was a man of integrity, defender of conservative Romanian peasant values, but was also a militant for modernization and prosperity for all, especially the most disadvantaged.

    Ion Mihalache was born on March 3, 1882, in Topoloveni, a village 90 km northwest of Bucharest. He came from a peasant family, and loved education, so he became a teacher at19 years of age, in 1901. When Romania joined the war, in 1916, he volunteered as an officer commanding a company on the front lines. He took part in the military campaigns in 1916-1917, and was decorated with the Michael the Brave order for his abilities as a commander.

    In the tumultuous years after the war, he took part in organizing the referendum by which the Romanian population of Bessarabia voted to unite with Romania in 1918. After the war, he went into politics and was a founder of the National Peasant Party, to defend the interests of the peasantry, the largest social class at that time. The emergence of such a party was also justified by the fact that King Ferdinand I had promised an ample agrarian reform in a famous speech from 1917.

    In 1919, in the first elections in Greater Romania, the Peasant Party formed a coalition with the the Romanian National Party of Transylvania, and formed a government led by Alexandru Vaida-Voevod. Mihalache was appointed minister of agriculture and land management. In 1920, the so-called Mihalache Law was passed, granting agriculture schools 100 ha of land each, and horticultural schools 25 ha to help with education.

    In 1926, these two agrarian parties joined, and the National Peasant Party was born, the most important opposition party facing off against the National Liberal Party. Mihalache became party deputy chairman, and Iuliu Maniu, the head of the former Transylvanian party, became chairman.

    The great electoral success of the new party came that same year, when the National Peasant Party won in a landslide, forming the government. They bring with them a policy of encouraging agriculture, in line with Mihalache’s political thinking. He went on to hold the position of agriculture minister until 1930, becoming then minister of the interior, a post he held until 1933.In 1941, when Romania joined WWII, Mihalache, then 59 years of age, was mobilized to the front line. However, he was recalled back home upon order from General Ion Antonescu.

    Our guest today is General Constantin Durican, aide de camp for General Ioanitiu, head of the General Staff of the Romanian army. In 1996, in an interview with Radio Romania’s Center for Oral History, he recalled the episode in which Mihalache was supposed to be convinced that it was in Romania’s best interest to fight on Germany’s side:

    Constantin Durican: Mihalache had the Michael the Brave order decoration from the war of 1916-1918. And because he was against Marshal Antonescu and on Maniu’s side, Antonescu order he be mobilized. He gave him a car, to show him why Romania was with the Germans, why we were fighting, and what we were getting ourselves into. Of course, the choice in that situation was pretty difficult, it was very hard to judge the leaders irrespective of their choice.

    After the war, he started the most difficult period of his life, which sorely tested his character. In the 1946 elections, in a climate of extreme tensions caused by the communists, Mihalache held a memorable election speech. Former political detainee Ioan Georgescu, spoke in 2000about that speech, which he attended:

    Ioan Georgescu: I recall there was a joint meeting of the Peasant Party and the Liberals, led by Dinu Bratianu and Ion Mihalache. They came here, to Campulung, and spoke to a large audience. I was present there. I remember a beautiful comparison he made then. He said: ‘So far we have stood on our right leg (he was talking about Antonescu) and now some are coming to tell us to stand on our left leg. And I say, and I think I’m saying it right, we have to stand on both legs.

    Another former political detainee, Cicerone Ionitoiu, talked in 2001 about how he visited Mihalache in 1946, detained by the communist government:

    Cicerone Ionitoiu: When we went to him, he was being prosecuted under false chargers, to prevent him from running for office in Muscel. We went there, we were about 12 people, from Bucharest, to support him on the day of the trial. He arrived at night, he received us, it was late, about 11 o’clock at night. He said: ‘Hey, boys, you need your sleep’. We told him that we want to talk to him, that he shouldn’t worry about us. Then a teacher arrived, Bratulescu, who took us in. And Mihalache saw us out of Campulung, and told us ‘Well, you visited me, what would it be like if I didn’t honor you by seeing you out of town?’ That’s the kind of man he was.

    In 1947, Mihalache, along with the entire leadership of the National Peasant Party, was sentenced to prison. On February 5, 1963, he passed away in the Ramnicu Sarat prison, just one year before the general amnesty of 1964. (C.C.)

  • The Village Museum Days

    The Village Museum Days

    The week of May 10, a sanctuary of quiet, nature, tradition and culture, the “Dimitrie Gusti National Village Museum in Bucharest, hosted events, exhibitions and fairs to mark the Village Museum Days, 85 years since the institution was established.



    The museum was opened on 10 May 1936, in the presence of King Carol II, and since then it has been one of the citys major tourist attractions. The motivation for setting up an outdoor museum was the importance of the village, of rural traditions and craftsmanship in Romanian culture.



    On the banks of Herăstrău lake in Bucharest, many genuine households and installations, the oldest one built in the 17th century, have been reassembled here, after having been brought to the city by train, cart or boat—an extraordinary effort that gave birth to the museum. We talked to the museum manager Paulina Popoiu, Ph.D., about the anniversary:



    Paulina Popoiu: “We organised these “museum days activities, and devoted about one week in May to the Village Museum, precisely in order to mark this anniversary and to celebrate its founders. Obviously, because of the pandemic the celebration is a little smaller in scale than the events we organised on the 80th anniversary, but this is natural given the circumstances. Even so, I should say there was plenty to see and do, and there were a lot of surprises. For the first time, we introduced the official title of “honorary ambassador of the Village Museum, to reward those who, one way or another, have contributed either to the development of the museum, or to promoting it in the country or abroad. I hope we will continue to give this title until the museums 100th anniversary.



    Mrs. Paulina Popoiu gave us a few details about the beginnings of the museum and about the exhibitions focusing on that period:



    Paulina Popoiu: “Perhaps what I should begin with is that all these events were held under the motto “The Museum and the Royal House. Why? Because the founding and existence of the Village Museum is closely connected to the Royal House, which at the time of the establishment of the museum provided both financial and moral support to the research conducted by Dimitrie Gusti and the Bucharest sociology school in the over 600 villages of Romania, and the “Prince Carol Foundations contributed significantly to the birth of the museum. So we think of the museum as a royal establishment, and it was only natural to remind the people that we also celebrate 100 years since the birth of King Michael, who was a great friend of the museum in his later years and whom we would meet in the morning on the alleys here. There was an exhibition opened on 10 of May, a symbolic day because it is the day of the Romanian Royal House and because it follows the celebration of Romanias independence and Europe Day on 9 May. This series of events are beautifully connected, and the Village Museum is an important character in this story. This exhibition called “The Museum and the Royal House presents the life of King Michael and the life of the museum. We worked with the National Archives and the Royal House and we included archive photos and several items that belonged to King Michael. To recreate the atmosphere of 1936, we brought here vintage cars, really outstanding and well worth seeing cars. Also, for 7 days we had ladies and gentlemen wearing period costumes borrowed from the National Theatre in Bucharest, in an attempt to recreate the urban atmosphere in which the Village Museum was set up. I think it is very interesting that this museum of the village and of traditional civilisation is located at the heart of the capital city, Bucharest. In a way, the Village Museum is the beating heart of this great city, because it showcases identity values, the values created over the centuries by Romanian peasants, and the houses here are a present for us from generations and generations of peasants.



    At the end of our dialogue, the manager of the “Dimitrie Gusti Village Museum, Paulina Popoiu, was proud to tell us about the interest shown by tourists for this special place in Bucharest:



    Paulina Popoiu: “It is worth noting that before the pandemic the museum had 910,000 visitors a year, many of them foreigners. There even was a year when we had more than half a million of foreign tourists coming here. So I would call the Village Museum the ambassador of Romania worldwide, and I hope after this difficult period is over we will pick up where we left off. (tr. A.M. Popescu)

  • The National Peasant Museum stays close to its public during lockdown

    The National Peasant Museum stays close to its public during lockdown

    The National Peasant Museum (MTR) has initiated a number of digital projects, held exclusively online, as part of a broader programme designed to diversify its cultural offer and adapt it to the new situation triggered by the pandemic that has hit the planet. “A playful dictionary of countryside life, “Bedtime stories… at MTR, “MTR inspires me, “The home at home: stories from everywhere, brought together, and “#Particular are just some of the titles of projects that introduce a new approach and build bridges between the Museum and the public at home. Here is Iris Şerban, coordinator of the MTR Image Archive:



    Iris Şerban: “We simply wondered what we can do in this context—and let this new challenge direct us. Our main resources are quite simple, yet very strong, as we came to realize: our creativity, know-how, and the answer to the question “what do we have available, and what can we build using all these?. So we had a brainstorming session, with colleagues from several departments, whether in research and documentation, or in archives, or in the museum education department. And we put together a programme consisting in a number of specific activities, to be held for a while exclusively online, as well as activities that we can carry on in the medium and long run. So when we get back to normal—although nobody seems to know when this will be and what this normal will actually be—these projects may be continued offline.



    The ideas of the researchers, archive experts and museum educators who designed this cultural programme for the isolation period can be carried on after the National Peasant Museum resumes its operation, with exhibitions and publications showcasing this online interaction with the public. But in the meantime, the Museums friends are invited to contribute to the project entitled “#Particular.



    Iris Şerban: “#Particular started from a very simple idea, an anthropological fact that we noticed in the current context. Whether we like it or not, we have to stay at home, and basically we have to go the same routes every day, and these interior routes can become repetitive, tiring, annoying. So our challenge was to look at the objects in our home in a different way, because everyones home is a universe in itself, with all sorts of stories and memories, and our home is part of the life that we now live in a different way.



    Why would a virtual museum showcase items that are so familiar to each and every one of us? Because they make up a personal heritage, says Iris Serban. But it is not only our interaction with specific objects that is important during these days in lockdown; interpersonal relations within the family also need strengthening. And in the project entitled “Bedtime stories…, children and parents are invited to listen to folk tales every Monday, Wednesday and Friday. Here is Valentina Bâcu, an expert with the Museums Education Department:



    Valentina Bâcu: “This is an audio tale section, addressing both children and parents. Colleagues from various departments of the museum present short traditional stories, legends and folk tales. We chose them because most of them are already known to parents and as such they are a starting point for a dialogue with their kids.



    And the effort to encourage creativity, which is specific to the National Peasant Museum, has given birth to a project called “MŢR inspires me. Theatre, visual and sound improv and even a pandemic diary, are challenges for children of all ages.



    Valentina Bâcu: “We encourage the public to interact with us by sending their own creative activities, in several sections. We have a section devoted to home theatre, updated as a rule at the weekend, on Sunday night. Children, assisted by parents, are encouraged to create a performance using home items, or shadow plays. Children are invited to sing, or to invent sounds, or to act as story tellers, together with their parents.



    As for switching the older projects into the online medium, one example is a project called “A museum in a box.



    Valentina Bâcu: “Another section is called “A museum in a box. Because this is a time when we can only visit virtual museums, we encourage children to create their own exhibitions, their own museums at home. They can do this using the walls of their house or even a simple box. If they want to add a digital element, we offer a number of brief tutorials on doing stop-motion animation. This is basically a digital take on the animation workshop that we organise at the MTR.



    All the projects created specifically for the online medium are currently available on the National Peasant Museum home page and on the institutions Facebook and Instagram accounts.


    (translated by: Ana-Maria Popescu)


  • Aurel Bauh’s photography

    Aurel Bauh’s photography

    A first meeting devoted to the initiative of
    the Romanian Peasant Museum’s Image Archive to display online its collections,
    managed to explain the concept lying at the foundation of a platform entitled
    ‘Networks of the Eye Gaze’ focusing on the photographs signed by Aurel Bauh.
    Here is at the microphone Viviana Iacob, researcher and curator with the
    aforementioned platform.






    Viviana
    Iacob: In case of the Bauh collection, we have identified several series
    bearing names like Valeni, Dambovnic, Gurghiu, Valea Jiului. There is also a
    series of industrial photos devoted to Bucharest. Such series can either grow
    or diminish following research or external contributions. Anyway, the
    structure of the online platform has been conceived so as to support such
    content fluctuations.






    Of course such archive content is supported
    through verified information, specialists refer to as metadata. Research
    conducted on several sources was necessary before launching the Bauh collection
    on the online platform.






    Viviana
    Iacob:This
    set of metadata is also important for creating relevant connections with
    artifacts from the same collection and also from the other collections of the
    archive. Research has been conducted to unearth further information that can be
    added to metadata. So the history of these negatives has been studied in order
    to find out when they were shot and published. Several sources were studied simultaneously,
    such as the photographer’s biography, exhibition brochures and other materials
    about Bauh’s exhibition projects, newspaper and magazine articles of that time
    as well as academic articles on ethnographic research conducted in the period
    between the two World Wars etc.






    Born in Craiova, southern Romania, in 1900,
    Aurel Bauh left for Paris in early 1920s, where he got involved with the
    Avant-garde movement. His story continued in Bucharest, where he opened his own
    workshop a decade later. His collection, part of the Peasant Museum’s heritage,
    mainly depicts scenes of rural life.






    Viviana
    Iacob: Bauh opened Studio 43 in Bucharest in 1937 and staged his first
    personal exhibition a year later. Starting 1939 he participated in the exhibitions
    mounted by the National Travel Office ONT. He published two photos in the ONT
    magazine, one entitled ‘Winter Fantasy and the other ‘Crops. With the latter
    he reaped the fifth ONT exhibition.






    Apart from that, however, Bauh also worked on
    a project dedicated to Jiu River valley, beginning 1945. In the fall of 1946,
    Bauh inaugurated his second sole exhibition, and in 1947, the photographs he’ d
    taken in Jiu River Valley went with Geo Bogza’s essay, ‘People and coal.’


    But what is the way an archive storage
    drawer image takes, until it is stored in the digital collection? How is a
    digital collection built, and what are the challenges of such a journey?






    Viviana
    Iacob: The timeline of the
    collection as shown in the Bauh biography narrows down according to series, and
    it narrows down even more according to the amount of research in the case of
    such series, through the literature focusing on sociological campaigns, through
    publication, through the moments he displayed certain artifacts. These
    occurrences are extremes for the entire archives, specifically as regards the
    amount of research or research effort made, in order to discover a title or a
    timeline, or in order to place an artifact in context and even to connect it to
    other artifacts, belonging to other collections.








    ‘Networks of the Eye Gaze is a digital
    platform where those who are interested can find the artifacts signed by Aurel
    Bauh. Also, participants may intervene so that the collection may be enriched
    and additional information on the collection may be provided. Here is the chief of National Peasant
    Museum’s ethnological archives bureau, Iris Serban.






    Iris Serban: This is how we have sought to
    promote the museum’s ethnological archives, creating a character which is
    accessible for the lay public, a real character ,born out of the way the
    archives have been created, and who lived in the previous century. The project
    is still in its infancy. ‘The Networks of the Eye Gaze’ project is much more
    than a database, it is a virtual space where the visitors is invited to
    discover the archives stuff, photographs, audio and video excerpts and texts,
    on one hand, while on the other hand, the visitor is invited to make his own
    contribution to all that.






    The Romanian Peasant Museum this summer
    launched the first interactive digital platform dedicated to a Romanian museum
    archives. The Aurel Bauh photo collection can be accessed through the ‘Networks
    of the Eye Gaze platform.







    ‘Networks of the Eye Gaze’ is a National Peasant
    Museum project, which received the joint support of RIZI Design, Samsung
    Romania, Gemini Solutions and The Plot. The project’s international partner is
    Romania’s National Museums Network. ‘Networks of the Eye Gaze’ can be accessed
    at arhiva.muzeultaranuluiroman.ro