30 May 2018
Romania in Bulgaria
28 May 2018
The ‘Haunted’ Hoia-Baciu forest, Transylvania
Update 5 September 2021:
‘Hoia Baciu: Inside the creepiest forest
in Transylvania: Forget Count Dracula’s castle; Transylvania’s really frightful
place is ‘haunted’ forest Hoia Baciu. Sophie Buchan goes for a night-time
stroll.’
Sophie Buchan produced an article for the Independent
travel section on 3 September 2021. She
joined a group led by Alex Surducan on a nocturnal tour of the forest and he was
full of his usual stories, starting with ‘“Once when I came here,” says Alex,
our guide, “I found 60 people from Bucharest trying to open a gate into another
dimension.”’ One wonders how they got on.
Buchan does not challenge the image of the
forest as a creepy place where unexplained events happen. She recounts the usual phenomena hyped-up
visitors report, while Alex tells her that ‘ectoplasms’ are ‘routinely’ seen by
joggers, though no further details are provided. Of the photos of ‘shadowy figures’ Alex shows
the group, one is a man wearing traditional Romanian dress, so not too shadowy
perhaps.
Alex, she decides, while distancing himself
from the more ridiculous claims is not immune from the stories. When she suggests they camp overnight, he
makes an excuse about the cold weather.
He tells her he had camped out there, but he and his friends kept
hearing the noise of a hoof, which stopped every time they put their heads
outside the tent. Perhaps he wanted to
maintain the forest’s mystique, and it might have been dispelled by locals engaged
in more mundane activities.
Referring to Emil Barnea, Buchan notes he
had nothing to gain by publicising his UFO photograph and much to lose as he
was sacked from his job, which would have made his life difficult. We also learn Alex and Marius are big in
Japan as the result of a 2015 documentary about Hoia Baciu shown there.
The article concludes with travel advice
and the information that Alex Surducan’s night-time tours cost £25. Alex says when he and Marius decided to start
their business in 2013 their friends told them they were mad, because they
thought tourists wouldn’t want to go into the spooky forest. With prices like that, the friends must be
annoyed they didn’t think of the idea first.
15 May 2018
Wild Carpathia
The history of human occupation here is a
rich one, and Ottley spends time exploring architectural gems. Dracula does get the odd mention of course, and
the interviewees’ conclusion is that if Stoker’s book encourages tourism, it’s
fine. Ottley’s overriding theme is the
interaction of the inhabitants with the landscape, and how they can preserve it
while incorporating the best of modernity.
Underneath the travelogue is a campaign to show the dangers the mountains
face from unscrupulous exploiters.
He journeys in a meandering arc through Transylvania,
Maramureș, Bucovina and Moldavia to the Danube delta. On the way he interviews a wide range of locals,
gaining insights into how they live – those who are pursuing a way of life
unchanged for centuries, those fighting to preserve the environment, and those
finding new ways to make a living which respect it. He attends a wedding, spends time with
musicians, shares food, and enjoys a drink or two. Wherever he goes he finds hospitable people possessing
a deep love of this beautiful place.
But it is not a rural idyll. There is hardship and isolation too, people
leaving for the cities and to go abroad.
Conditions can be primitive, and isolation make life difficult,
especially for the elderly. Logging is a
huge threat, caused partly as a by-product of restitution after the fall of the
communist regime, owners taking advantage of their assets, partly the result of
local corruption. Mostly illegal, it is
occurring on a vast scale, and it is a theme to which the films constantly
return. Ottley makes clear this is
short-term gain bearing devastating long-term consequences.
New roads and unsympathetic buildings are
highlighted as issues. Roads bring in
visitors and help to improve the infrastructure, but excessive traffic can have
a detrimental effect, and reduces the freedom of movement animals, especially
the large carnivores, need to thrive.
The trick is to find a balance between conservation and improvement, and
avoid the all-too-common excesses of shoddy building construction, relying on
concrete, that is out of keeping with traditional styles. An effort is being made to educate local
schoolchildren, by means of ‘battle buses’, in order to raise awareness of environmental
degradation.
Ottley has a relaxed approach and is at
ease talking to people from all walks of life, managing to interview HRH
Princess Margarita, and Prince Charles twice, the latter claiming to be able to
trace an ancestral link to Vlad Țepeș, and therefore arguing he has a ‘stake’
in the country (a joke one suspects he has used before). One group Ottley does not really address
though is the gypsy community, apart from noting they are moving into abandoned
Saxon houses, the original inhabitants having left for a new life in Germany.
His enthusiasm is infectious, and this is
a great promotional film – at one point he exhorts the viewer to visit and help
to preserve the area. Sustainability is
the key, and he stresses the benefits of ecotourism, disincentivising logging
and maintaining the integrity of the environment while still generating an
income, in the process retaining people and skills for the benefit of all – the
visitors, who will value the experience, and the community, which will enjoy a
decent standard of living.
While much is at risk of being lost, he
argues that this is our common heritage and deserves to be protected. The biodiversity is staggering, and can be perpetuated
by sympathetic management. Much is being
done to encourage visitors, in a way that they will not harm what it is they
have come to see, but a lot more is required.
However, the first part of the series was made in 2011, the second and
third in 2013, so the dangers Ottley flags up are even more pressing today.
This is a marvellous set of films and it
is good to learn there is a fourth instalment in the works, ‘Seasons of Change’. Ottley is currently attempting to raise the
funding for the project, but he began his efforts in 2015, suggesting progress
is slow. One can only hope he achieves
his goal, as his aim is again to raise awareness of the ongoing spoliation, and
by so doing help to combat it, while advocating alternatives for the prosperity
of the inhabitants and the enrichment of us all.
Update: 23 November 2021:
Wild Carpathia 4
Part four of Wild Carpathia, ‘Seasons of
Change’, has finally arrived. It was
posted on YouTube on 7 October 2021, and was certainly worth the wait. The photography is stunning as ever, complete
with judicious drone use, and presenter Charlie Ottley is his ebullient self,
picking up the themes of the previous episodes and managing to find excellent
locations to visit and locals to interview (no Prince Charles this time
though).
He sets the scene by noting the extent of
the Carpathians, more than half of which are in Romania, and the region having
been occupied since the Neolithic period.
Naturally he extols Romania’s vast forests, and their value as a habitat
for many of Europe’s remaining large carnivores. The series’ ecological theme, this precious
habitat under threat from neglect and exploitation, is again to the fore.
Rather than a linear geographical
structure, Ottley goes season by season.
He begins with autumn, and preparations for winter: the trees changing
from green to red, the harvest being gathered, animals brought down from the
mountain, the communal slaughter of a pig.
Bears storing up for winter occasionally stray into villages, sometimes having
unfortunate consequences.
Winter brings extremely low temperatures. An Ice hotel in the Făgăraș mountains is an
intriguingly eco-friendly tourist option.
It is only standing for a few months and is one for the younger visitors
by the look of the crowd. Other parts of
the Carpathians are less accessible at this time of year, but offer
opportunities for the adventurous and well-prepared.
During the hard months, feasting takes on
a ritual significance as a communal activity.
Ottley points out the people’s intimate connection to the food they eat
and where it comes from, in a way that has been lost in many other
countries. The strong sense of community
and need for relief means Christmas is celebrated with gusto.
Spring, and nature bursts forth, while communities
cut off during the winter months can re-establish contact. Sheep are driven back up to the alpine
meadows and bears awaken. They are still
under threat, both from hunting and habitat loss, but offer tourism
opportunities, along with other wildlife, including bison.
While some parts of the Carpathians are
disappearing under concrete, unsympathetic developments which hamper
communities’ opportunities for cultural tourism, there is increasing awareness
of the value in preserving the integrity of the environment. More projects are being developed that seek
to maintain a harmonious relationship with it.
The tourist industry is growing, stimulating
such efforts. Yet a tree house complex
blending seamlessly into its surroundings had more trouble obtaining planning
permission than a concrete block hotel would have, so a more sympathetic
attitude by the authorities will be required if developments in keeping with
their context are to be the way forward.
But sustainable tourism should concentrate
on preservation and restoration rather than new developments, and income from
tourism helps to maintain the architectural heritage. Ottley visits an estate which has been
beautifully restored since its restitution in 1998, containing accommodation
for tourists within an extensive wooded animal sanctuary. The owner’s vision is for a tourist
destination on a par with Tuscany or Provence, a reasonable aspiration one
feels.
Cund is a Saxon village where a German,
going against the flow of many ethnic Germans who have left the country, has
set up a successful guest house, thereby encouraging other inhabitants to
follow suit. The result of increased
prosperity and employment opportunities is that not only has depopulation, a
problem elsewhere, been halted, it has reversed, young families moving in and
houses being renovated. Visitors are not
solely foreigners – about 50% are Romanians exploring their own country.
William Blacker, author of Along the Enchanted Way and
champion of preservation, notes the loss of many of the old houses since he
first came to the country, and thinks how sad it would be if such buildings
vanished completely. By far the
preferred option is to repurpose them for modern living and for tourists. A kiln producing traditional roof tiles
provides local employment, and retains skills, and the tiles are no more
expensive than poorer-quality ones made elsewhere.
These are promising signs, but it is not
all rosy. Illegal logging is increasing,
and Ottley is shown a mountainside which has been entirely denuded. It can be done very quickly, authorities turn
a blind eye, and multinational corporations are complicit. Inadequate legislation is exacerbated by small
fines, so preservation needs stronger legislation and better enforcement.
As such tracts of virgin forest gone from
the rest of Europe, preserving this beautiful but fragile ecosystem is more
than a Romanian concern, it is an international one. An interviewee says there needs to be greater
recognition that the forest is not timber and the wildlife is not game; another
puts it: ‘Romania is the custodian of a priceless treasure’.
Opportunities unfortunately are being
missed. Abundant wildflowers indicate a
high degree of biodiversity, and unpolluted pesticide-free meadows could be a
boon for farmers who should be able to charge a premium for their organic
produce, especially if tied to traditional cuisine. But this is not happening, while inferior
food is being imported from other countries.
Clearly there is still much to do.
Ottley and his team have made other films
promoting Romania, but the Wild Carpathia series is their finest achievement, a
lyrical hymn to this beautiful region that makes one want to follow in his footsteps. Ottley neatly presents a holistic overview of
the problems and opportunities, and indicates ways prosperity can be pursued
without degrading the environment.
It was a long wait for this instalment,
but it was worth it. Despite saying
number four is the last, it would be wonderful if he could make further films
exploring the Carpathians. The Romanian
tourist board should take note, and seriously consider providing funding for
this champion of the country’s natural capital, while the government would do
well to ponder the lessons of the series and stand up to those who seek a quick
profit at the expense of everyone else.
https://thomasruffles.blogspot.co.uk/2018/05/along-enchanted-way-romanian-story-by.html
8 May 2018
What Can or Cannot Be Said About Romanian Literature? Plenty, by Saskia Vogel, 2013
7 May 2018
A Cultural Journey, Ministry of Regional Development and Tourism, January 2011
‘Romanian literature: Fascism and erotica’, by Maria Bucur, 2016.
Contemporary Romanian Writers, Romanian Ministry of Culture, 2014
Along The Enchanted Way: A Romanian Story, by William Blacker
Englishman William Blacker was extremely enterprising, driving across Europe as soon as the Berlin Wall came down in 1989 and only stopping when he reached Romania. Liking the place, he made his home there between 1996 and 2004, firstly in Maramureș, in the far north near the Ukrainian border, and then further south in Transylvania. Along the Enchanted Way: A Romanian Story, published in 2009, is his account of those years. It is a tender and affectionate portrait of his adopted home, focusing on the country people in remote areas far from Bucharest.
He found a place where the way of life had
been much the same for centuries, despite changes of regime and ideology, and
which was hanging on when it had to a large extent disappeared everywhere
else. In Maramureș he became the lodger
of Mihai and Maria, who treated him as the son they had never had and whose
affection he reciprocated. Mihai even
encouraged him to meet a local girl and settle down, but William wasn’t keen,
and his participation in the strict courting rituals was diffident and gauche.
Patterns of living were dictated by the
seasons, bucolic summers, harsh winters, self-reliant and using traditional
materials, and generally uninfluenced by the outside world. Cars were almost unknown, instead the horse
ruled, with little time for mechanisation (as the Communist regime found out
when it tried to replace horses with tractors).
In a society where social bonds were strong the people were hospitable
and took him in as one of their own. He
fell in with the local routines, working in the fields and sharing fully the
life of the people (which included imbibing considerable quantities of horincă,
a plum brandy).
In Maramureș he lived among Romanians and
Gypsies, and in Transylvania among Romanians, Hungarians, Gypsies and Saxons
(established there since the 12th century, initially as a bulwark by the
Hungarian monarchs against Islamic invasion but stranded as the tide of history
receded). However, most of the Saxon
community – the older members of which had been deported to the Soviet Union
after the war as forced labour – had gone to Germany after 1990 in search of a
better life, abandoning their Romanian houses to be stuck in urban flats. Some of these buildings were occupied by
Gypsies, others had been left to decay.
To his credit Blacker began a campaign to help restore the finely-built houses
and beautiful historic fortified churches, employing local people. He felt a great sadness at the mass
emigration by Romanian citizens of all types, and notes that moving away from
one’s roots entails a loss, even if it brings economic benefits, not
guaranteed, to the migrant and the community left behind.
He shows the discrimination the Gypsies
endure at the hands of the wider society, and the unfair way they are treated
by the local authorities, but also how they often deserve their dubious
reputation, and are more devoted to carousing (in which Blacker is happy to
join), than horticulture, with little thought for the morrow. So it is awkward when he starts to live with
one and finds his Romanian neighbours are not happy, doing what they can to
sabotage the relationship. When he keeps
sheep, which one would consider a respectable occupation, it is oddly a cause
of friction with his Romanian neighbours because he is encouraging the Gypsies,
who are seen as feckless. Having
corrupt, racist and often nakedly brutal local police only exacerbates the
situation, and Blacker draws a portrait of harsh treatment towards the Gypsies,
and his exhausting, but largely successful, efforts to use the courts for
justice. Eventually he and his dark-eyed
companion split up, but then she has a son, Constantin whom Blacker
acknowledges as his, and so finds he has parental responsibilities that draw
him back.*
Despite the apparent centuries-old
stability of the region he arrived on the cusp of change, but there is little
here about the wider political and economic situation. He was there at the right time, in the
interval between the fall of Communism and Romania’s accession into the EU in
2007, to track the changes – not all for the better in his estimation – as modernity
began to catch up with this sleepy corner of Europe. However, this is rather a depiction of the
life in which Blacker immersed himself, and the emphasis is very much on
personalities, though he does describe how these lands have been contested over
the centuries, forming a singular regional character. He is more interested in tracking the rhythms
of the seasons and in local customs, about which he writes with an
anthropologist's eye. There are strong
folk and pre-Christian elements mixed with the Orthodox faith, and superstition
is still a strong presence. The effort
to see symbolism in acts can occasionally lead to humour: at a funeral Blacker
asks Mihai why a candle in a jar is standing in wheat, suspecting some profound
significance, to be told it is to stop the candle falling over.
He is reticent about his personal
circumstances but you sense his lifestyle was only possible with a private
income. He writes an article for the Telegraph, but such incidental
journalistic activities would not support him even in such a poor area. He is accepted by the people he lives
amongst, even if they do consider him a member of an exotic species at times,
and he is willing to put his head over the parapet on behalf of the Gypsies
even when it costs a great deal, but there is always a sense he can leave any
time he wishes. It’s easy idealising the
peasant way of life if you do it on a voluntary basis rather than through
necessity.
The existence Blacker depicts may be hard,
but the work, the landscape, family and social ties, combine to form a unity
the modern world has lost, with negative consequences in his view. The tone is elegiac, but it is easy to romanticise
in such circumstances. Blacker documents
the changes occurring in the area, bemoaning the passing of a simpler age, with
the village now reached by a tarmac road rather than the old track, encouraging
motorised transport, but why should the people there remain isolated? When Mihai fell ill Blacker had to obtain
drugs from the vet because there was no local doctor, so there are advantages
in having improved communications.
On the other hand it is hard not to be
sympathetic when Blacker talks about the advent of plastic packaging with no
municipal waste removal arrangements (what need when everything is organic and
recycled) so the stream clogs up with rubbish.
He shows the villages emptying as young people go westward in search of
work, a process which has only accelerated because of the EU’s freedom of
movement principle. It seems ironic that
a lifestyle which had survived fascism and communism, the massive upheavals of
the twentieth century, should be destroyed by the free market. The book’s ending is touching, recounting the
funeral of Mihai in 2008, with whom Blacker had originally lodged. His death symbolised, for better or worse,
the passing of an era.
*An article in the Telegraph in March 2017 noted that Constantin’s real name is
actually Valentin, and that he is held in affectionate regard by Prince
Charles, a friend of Blacker’s. Prince
Charles owns property in Romania, where he is a regular visitor. Along
the Enchanted Way is dedicated to ‘Constantin’.
(This was first published on The
Joy of Mere Words, 21 February 2018)
Update 10 July 2021:
Along the Enchanted Way was selected
by Prince Charles in June 2021 as one of his five favourite books to share with
followers of the ‘Duchess of Cornwall’s
Reading Room’, the Instagram
book club run by his wife. On the one
hand, it is good to see Romania getting the extra exposure such a high-profile
exercise can bring, and doubtless the Transylvanian tourist board will be pleased. On the other, as Blacker’s depiction helps to
perpetuate the image of Romania as a rural backwater populated largely by
gap-toothed peasants, this is probably not the best place for those unfamiliar
with Romania to start, especially as for most of the general readers drawn by
Prince Charles’s recommendation, this will be the only book on the country they
will ever pick up.