Romania - Căluş ritual

Performed in the Olt region of southern Romania, the Căluş ritual dance also formed part of the cultural heritage of the Vlachs of Bulgaria and Serbia. Although the oldest documented music used in this dance dates from the seventeenth century, the ritual probably derived from ancient purification and fertility rites using the symbol of the horse, which was worshipped as an embodiment of the sun. The ritual’s name derives from the Căluş, the wooden part of the horse’s bridle. The Căluş ritual features a series of games, skits, songs and dances, and was enacted by all-male Căluşari dancers to the accompaniment of two violins and an accordion. Young men used to be initiated into the ritual by a vataf (master) who had inherited the knowledge of descântece (magic charms) and the dance steps from his predecessor. Groups of Căluşari dancers, sporting colourful hats, embroidered shirts and trousers adorned with small jingling bells, perform complex dances, which combine stamping, clicking of the heels, leaping and swinging of the legs. According to tradition, groups of dancing and chanting Căluşari, who were thought to be endowed with magical healing powers, went from house to house, promising good health and prosperity to villagers. Until today, Căluşari meet to celebrate their dancing and musical prowess on Whit Sunday. Testifying the rich cultural diversity of Romania, the Căluş ritual is also widely promoted at folklore festivals, such as the Caracal festival in the region of Olt, turning it into a veritable national symbol.

Moldova - Romania - Traditional wall-carpet craftsmanship in Romania and the Republic of Moldova

In the past, wall carpets produced by weavers in communities of Romania and the Republic of Moldova were used not only as decorative features and sources of insulation but also as part of a bride’s dowry. A variety of techniques were needed to produce the pieces with impressive motifs. Certain patterns also indicated where the weaver was from. The carpets had additional roles in community practices, such as at funerals where they symbolized a passage for the soul to the hereafter. They were also displayed at international exhibitions as markers of national identity. These days, wall carpets are mainly appreciated as works of art for public and private spaces and exhibited at city festivals and ceremonies. Techniques have changed from vertical or horizontal looms practised in some parts, to tight picking (thread by thread) and other forms with weavers now able to work from home. In villages, girls learn the art form from their mother or grandmother, while in cities craft centers, associations and colleges, as well as museums provide classes. Viewed as an expression of creativity and identity marker, wall carpet craftsmanship is also considered as a tool to unite groups in society of different ages and socioeconomic backgrounds.

Bulgaria - Macedonia - Moldova - Romania - Cultural practices associated to the 1st of March

Cultural Practices Associated to the 1st of March comprise traditions transmitted since ancient times to celebrate the beginning of spring. The main practice consists of making, offering and wearing a red and white thread, which is then untied when the first blossom tree, swallow or stork is seen. A few other local practices also form part of a larger spring celebration, such as purification actions in Moldova. The artefact is considered to provide symbolic protection against perils such as capricious weather, with the practice ensuring a safe passage from winter to spring for individuals, groups and communities. All members of the communities concerned participate, irrespective of their age, and the practice contributes to social cohesion, intergenerational exchange and interaction with nature, fostering diversity and creativity. Informal education is the most frequent means of transmission: in rural areas, young girls are taught how to make the thread by older women, while in urban areas apprentices learn from teachers, craftspeople and through informal education. Another occasion for transmission is provided by Martenitsa/Martinka/Mărţişor workshops organized by ethnographic museums. The communities concerned are actively involved in efforts to inventory, research, document and promote the element, and numerous cultural projects geared at its safeguarding are underway.