Diaspora

Entries Tagged as 'Diaspora'

Romanian Musings on Bela Bartok’s Memorial in London SW7

October 10th, 2011 · Comments Off on Romanian Musings on Bela Bartok’s Memorial in London SW7 · Art Exhibitions, Diaspora, OPINION, PEOPLE, Reviews, Uncategorized

Bela Bartok was born in the Romanian Banat region, at Sannicolau Mare, the son of a Hungarian father and a Serbian Mother. As one would expect of a sensitive child born in this ethnic mosaic of the Habsburg Empire, young Bartok like his central European contemporary composers, drew his inspiration from the rich ethnic music of Central Europe: the composer’s “Romanian Dances” have long been included in the International musical repertoire and in the memory of the cognoscenti, compositions which reflect indirectly the international currency of Romanian compositions, the same pool from which Georges Enesco or Valentin Lipatti have drawn their inspiration.
The life of Hungarian sculptor Imre Varga (b. 1923) reflects, as one would expect, the historical and political meanders of his country, during the 20th century. By comparison, this presents many commonalities with his Romanian counterparts, who showed an equal enthusiasm at adapting to changing political circumstances, first during the right-wing nationalist dictatorship, followed by an anti-Stalinist war in the East, on the side of Germany, only to heap praise on a “liberating” Soviet Army and finally to end up as a member of the European Union: not exactly an easy sailing, during stormy times, when many contemporary artists either wrecked their careers, or chose instead to take the heavy road of exile, as was the case of our subject, whose memorial has just been erected in South Kensington.

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Ganduri Romanesti despre Bella Bartok la Londra

October 9th, 2011 · Comments Off on Ganduri Romanesti despre Bella Bartok la Londra · Art Exhibitions, Diaspora, OPINION, PEOPLE, Uncategorized

Dezvelirea statuii compozitorului Maghiar Bella Bartok in cartierul South Kensigton din Sudvestul Londrei reprezinta o recunoastere in plus, nu numai a celebrului compozitor de talie universala, dar si un exemplu de promovare inteligenta a valorilor nationale in lume. Acest act ofera un moment de reflectie si poate comparativ cu modul Romanesc de promovare a valorilor nationale, pe plan international, de cumetriile Institutului Cultural Roman, Bucuresti.

Ei, o sa ma intrebati, poate, “ce are sula cu prefectura”? ce legatura aleatorica ar exista intre aceste idei, intre astfel de paralele si implicit de indemnuri?

Bella Bartok si George Enescu
Fara a ma pierde in explicatii alambicate, doar in cateva randuri, ar trebui sa amintim ca Bella Bartok s-a nascut in Banatul Romanesc, la Sannicolau Mare, ditr-un tata maghiar si o mama de etnie Sarba. Cum este si firesc, pentru un tanar cu evidente sensibilitati fata de mediul in care s-a nascut, Bartok s-a inspirat, asa cum au facut-o contemporanii si predecesorii sai din sec XIX, din fondul muzicii etnice din Sudestul Europei: “Dansurile Romanesti” ale compozitorului au intrat de mult in repertoriul mondial si implicit in memoria si sensibilitatea publicului civilizat si avizat, sensibilitate care reflecta indirect valorile muzicii Romanesti – aceeasi sursa din care s-au inspirat si contemporanii sai, George Enescu sau Dinu Lipatti.

Este poate semnificativ ca atat Bartok cat si Enescu s-au exilat din cauza schimbarilor politice survenite ca urmare al celui de al doilea razboi mondial: Bartok s-a destzarat datorita fascizarii Ungariei lui Horthy, ca sa se stabileasca in Statele Unite, unde, in ciuda asistentei financiare si artistice primite, si-a trait cu dificultate exilul, unde a murit dupa cinci ani. In aceasta perioada de destzarare a compus doar doua lucrari: Concertul pentru Orchestra si o sonata de vioara pentru Yehudi Menuhin – violonistul care a fost scolit de Enescu…
George Enescu, impreuna cu sotia lui si-au parasit tara dupa razboi, ca sa-si traiasca ultimii ani de viata la Paris, intr-o perioada intunecata a diasporei romanesti. Aceasta din urma a fost bantuita de recriminari, suspiciuni, lovituri sub centura si contraziceri – cu efecte inevitabile negative. Aici, in Parisul postbelic, bratul omniprezent al simpatizantilor francezi ai Stalinismului, cat si coada sobolanului securist au fost proactive, asa cum au suferit, din experienta proprie, Monica Lovinescu, Eugene Ionesco, Virgil Gheorghiu, Horia Vintila, s.a., indurand persecutia impinsa pana chiar la procesul vrajitaorelor.
Poate ar fi interesant de a reflecta mai adanc asupra efectului exilului asupra acestor compozitori contemporani, Bartok si Enescu.

Maria MESTEROU – Retrospectiva Franta (14 Oct. 2011 – 27 Nov. 2011)

September 21st, 2011 · Comments Off on Maria MESTEROU – Retrospectiva Franta (14 Oct. 2011 – 27 Nov. 2011) · Art Exhibitions, Diaspora, International Media, PEOPLE

Maria MESTEROU – Retrospectiva Pictura, Dreux, Franta (14 Oct. 2011 – 27 Nov. 2011)
L’univers de Maria Mestérou est un monde fait de mystérieux objets. L’espace qui les contient communique souvent avec l’étendue des horizons éloignés, de la mer. L’étrange charge que portent ces objets transfigure aussi le paysage, le plein air dans lequel ils sont placés. Ils font parfois la place à un personnage non moins mystérieux, sachant partager leur silence et entretenir le dialogue avec celui qui regarde. Ce ne sont pas des natures mortes dans le sens usuel du terme, c’est une insolite figuration. Peut-être la recherche d’un genre de dimension perdue ou le surnaturel trouverait forme dans le naturel, lui transférant une lumière d’attente, l’attente de la métamorphose finale. Les objets sont réunis pour un moment précis, d’où jaillit une beauté sereine. Leur rayonnement transcende leur apparence et prend des lueurs cosmiques. Le sensible sert le transcendantal dans un échange avec le spectateur, et cet échange est déjà de l’ordre de l’affectif.
Valérian Bryn

Constantin ROMAN – Dérive continentale ou européen en dérive

July 27th, 2011 · Comments Off on Constantin ROMAN – Dérive continentale ou européen en dérive · Books, Diary, Diaspora, International Media, PEOPLE, Reviews

Voici une lecture aussi passionnante que captivante, bien qu’elle ne soit pas, comme le suggère son titre, un récit scientifique*/. Son auteur, un dissident Roumain ayant fait ses études de géophysique à Bucarest pendant les années folles du régime immonde de Ceausescu, est quand même parvenu a s’en échapper, afin de participer à une conférence à l’Université de Newcastle, en Grande Bretagne. N’étant plus retourné en Roumanie qu’après la chute du régime communiste, il est resté néanmoins un patriote Roumain, actuellement Professeur honoris causa de l’Université de Bucarest, tout en gardant sa résidence, près de Glyndebourne, dans une partie “chic” de l’Angleterre. Selon son propre récit, Constantin Roman doit être l’un des jeunes cientifiques recevant l’un des meilleurs honoraires du monde . Une fois arrivé en Angleterre, muni seulement d’un billet de £5 dans sa poche, il a utilisé son expertise, son charme, les meilleurs contacts ainsi que l’appui de l”unversité de Newcastle

Keith RUNCORN, invited Constantin ROMAN to a NATO Conference on Palaeomagnetism

comme plateforme de lancement. En parvenant à entretenir les meilleurs contacts, notamment avec le Professeur Keith Runcorn, de la Royal Society, il parvint à obtenir une bourse de recherches au Collège de Peterhouse, à Cambridge. Cela lui a permis de faire sa thèse de doctorat sur la tectonique des Carpathes et de l’Asie centrale, en étudiant des données sismiques afin d’identifier les limites et le mouvement des plaques lithosphériques. Dans ce contexte, utilisant les zones de compression et d’extension, il a défini l’existence de deux plaques lithosphériques non-rigides, les “plaques tampon”, ou “buffer plates”, du Tibet et du Sinkiang, cantonnées respectivement entre les plaques lithosphériques rigides de l”Inde et de l’Eurasie. Au début des années 70 une pareille suggestion aurait été étiquetée pour le moins comme iconoclaste. Une fois son doctorat obtenu, sous la direction du professeur Sir Edward Bullard, Roman est devenu par la suite Conseiller International de l’industrie petrolière, ayant gagné, je suppose, des honoraires prodigieux. Cet ouvrage traite essentiellement, de la folie des dictatures et des bureaucraties mais aussi de la douce vie de doctorant-chercheur a Cambridge. Quand aux détails de la bureaucratie “kafkaiesque”, les autorités britanniques semblent aussi obstinées que leurs consoeurs roumaines

POETRY IN TRANSLATION (LXXXV): Gabriel ARESTI (1933-1975), BASQUE Country – Gabriel ARESTI (1933-1975) BASQUE Country

July 15th, 2011 · Comments Off on POETRY IN TRANSLATION (LXXXV): Gabriel ARESTI (1933-1975), BASQUE Country – Gabriel ARESTI (1933-1975) BASQUE Country · Diaspora, International Media, Poetry, Translations

DACA PRETUL ADEVARULUI…
Daca pretul adevarului
este sa-mi ucida
fiicele,
sa-mi intineze nevasta
sa-mi darame casa
unde locuiesc;
daca pretul adevarului
este sa-mi taie
mana
cu care scriu,
limba
cu care cant;
daca pretul adevarului
este sa-mi stearga numele
din cartea de aur
a Literaturii Basce,
nici, odata si in nici un fel
dar mai cu seama, nicaieri
nu vor reusi, ei,
sa imi curme glasul.

(Rendered in Romanian by Constantin ROMAN, Londra, 15 Iulie 2011

IF FOR TELLING THE TRUTH…
(Gabriel Aresti, 1963)
If for telling the truth
they must kill
my daughters,
rape my wife,
pull down
the house
where I live;
if for telling the truth
they must cut off
the hand
I write with,
the tongue
I sing with;
if for telling the truth
they must rub
out my name
from the golden pages
of Basque literature,
never in any way
nor in any place
will they be able
to make me shut up.

(Translation: Toni Strub)

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POETRY IN TRANSLATION (LXXXIV): Gabriel ARESTI (1933-1975) BASQUE Country – “Casa Stramoseasca” (My Father’s House)

July 14th, 2011 · 1 Comment · Diaspora, International Media, PEOPLE, Poetry, Translations

VATRA STRAMOSEASCA

(Gabriel ARESTI, 1963, “NIRE AITAREN ETXEA”)

Voi apara

Vatra stramoseasca

De haitele de lupi,

De seceta,

De camatari,

De Jude,

Voi apara

Vatra

Stramoseasca.

Voi pierde

Cireada

Livada

Si codrul de brazi.

Voi irosi

Dobanda,

Venitul

Si bruma de bani

Dar voi apara

Vatra

Stramoseasca.

Imi vor lua armele

Dar cu bratele goale voi apara

Vatra Stramoseasca;

Imi vor smulge

Bratele

Umerii

Si pieptul

Dar cu sufletul voi apara

Vatra stramoseasca.

Voi muri

Si suflul meu va pieri

Urmasii mei vor pieri

Dar vatra stramoseasca

Va dainui.

Inaltatoare.

Poetry in translation: Mihai Eminescu (LXXXIII) – Ai nostri tineri (The Nation’s Youth)

June 15th, 2011 · Comments Off on Poetry in translation: Mihai Eminescu (LXXXIII) – Ai nostri tineri (The Nation’s Youth) · Diaspora, PEOPLE, Poetry, Translations

The Nation’s Youth

(Mihai EMINESCU)

The Nation’s Youth, to Paris go to study

The art of tying round its neck a tie.

And so, to demonstrate at home the mindset,

Of being wiser than a half-baked pie.

In town, the down-and-outs look up astounded

To see them twist their whiskers in their carriage,

Or, gripping with their teeth a long Havana

When traipsing up and down, along the Passage.

Their nasal vowels smirk their clownish faces:

They prop the pillars of cafes and brothels

To show they do not earn a living, they parade it.

Yet all these air-heads vie for the impression

Expressed in their forgotten, native language

That they are our brightest constellation.

***

English Version by Constantin ROMAN

“Carmen Sylva – reine Elisabeth de Roumanie” (Gabriel Badea-Paun) aux Editions “Via Romana”, 2011

May 27th, 2011 · Comments Off on “Carmen Sylva – reine Elisabeth de Roumanie” (Gabriel Badea-Paun) aux Editions “Via Romana”, 2011 · Art Exhibitions, Diary, Diaspora, PEOPLE, Reviews

Paris: GABRIEL BADEA-PAÜN signe sa biographie “Carmen Sylva Reine Elisabeth de Roumanie” Editions Via Romana
Né en 1973 à Sinaïa, Roumanie, auteur de plusieurs ouvrages de prestige sur l’histoire de l’art, Monsieur Badea-Paun est agrégé de L’université Paris IV Sorbonne, DEA en histoire de l’art, avec un mémoire sur Les portraits de la Famille de Hohenzollern par Philip de Laszlo. Sa thèse à Paris IV Sorbonne sous la direction du Professeur Bruno Foucart a eu pour sujet Antonio de La Gandara, le catalogue raisonné de l’œuvre peint et dessiné.

Monsieur Gabriel Badea-Paun est éagalement l’auteur de plusieures monographies ainsi que d’articles de l’histoire de l’art dans des revues de specialité en France et en Roumanie. Son dernier ouvrage sur la Reine Elisabeth de Roumanie, vient de parraitre en France aux editions Via Romana.

Maria MESTEROU (France) artist painter – her work on the conservation of Orthodox images

May 26th, 2011 · 7 Comments · Art Exhibitions, Diaspora, International Media, PEOPLE, Reviews

Il m’est arrivé d’avoir à faire à une vaste gamme de techniques picturales, allant de la classique peinture sur toile, passant par celles sur plaques de cuivre et sur bois, jusqu’à la détrempe à l’œuf sur tissu non tendu sur châssis, comme ce fut le cas pour un très ancien voile grec couvert de beaucoup de scènes de l’Ancien et du Nouveau Testaments, dominées par deux grandes icônes de la Vierge et de Jésus Christ. Les deux premières images montrent le voile avant la restauration, avec, cependant, les visages de la Vierge et du Christ nettoyés. On voit ensuite son aspect final:

Conversation with Domnica Radulescu, Romanian-American Academic and Novelist about her first Novel – “Train to Trieste”

May 2nd, 2011 · 3 Comments · Books, Diaspora, PEOPLE

CRS:
Most of Romanian exiles who became acknowledged as international greats, Cioran, Anna de Noailles, Marta Bibescu, Horia Vintila wrote directly in the language of their adoptive country, yet the native Romanian officials together with a raft of native critics considered this practice disloyal. The young Elena Vacarescu who received a prestigious French Prize for her poems.she was reviled, back in Romania, even before 1900. She returned only to be exiled again, yet she desperately loved her country wherever she was. Two generations later, under communism, the official critic George Calinescu in his opus on the History of Romanian literature dismissed Anna de Noailles as “unpatriotic” for not writing in Romanian. Even as recently as two years ago a director of the Romanian Cultural Institute in Paris refused a Romanian author financial help for the translation of his book simply because this was written in a foreign language therefore stating that it did not qualify as Romanian (sic). We know that this seems bizarre and nonsensensical. Your choice of writing in English is clear and I for one I think it a great help in putting `Romania on the map, very much as Panait Istrati or Anna de Noailles did it before the war and many other exiles since – what are your views on such criticism? Do you find it justified?

DR:
I frankly don’t care much about such criticism nor do I pay much attention to it. I think a writer can write in any language under the sun she/he chooses and throughout history writers wrote in different languages, not always their first native or maternal languages. I left Romania for the United States in order to start a new life, a new me, a new destiny, when I was quite young. It felt like the most natural thing in the world to write in the language of the country in which I have been living for a quarter of a century. Besides I adore writing in English more than in any other language.

CRS:
On the occasion of the Award of the Nobel Prize for Literature to Herta Muller much debate and controversy was stirred in the Romanian society about the Romanianness of a German ethnic born in Romania, who lived in Berlin and wrote in a foreign language… Some critics went even further as to suggest that one of the reasons why Romania may have been overlooked by the Nobel prize committee is the paucity of Romanian novels translated in languages of international circulation: do you find such suggestion justified?

DR:
I don’t know, again I don’t care much about such issues as someone’s “Romanianness” or “Frenchness,” and I think it’s silly of critics and the media to worry about things like that; the reason they do is because there is such a need to pin and label writers and place them in boxes of ethnic, national, linguistic affiliations. Maybe Romanians should do a better job at translating their own literature in other languages.

Centre for Romanian Studies